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Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

What was recording like

The recording sessions for the album took place at three sessions in mid-February 1962.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

What was the name of the album

Modern Sounds in Country and Western Music.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

Are there any other interesting aspects about this article?

Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

What else was he known for

While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

What was his western music like

Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

How did they react

According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

Did he have any albums

Modern Sounds in Country and Western Music.

Modern Sounds in Country and Western Music, Recording: Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers. By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper: While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.

What else stood out in this article

Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers.

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

when did they join Megaforce

1988.

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

What album did they release with them

The group released its debut album as King's X, entitled Out of the Silent Planet,

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

When was it released

in 1988.

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

was it a success

Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts.

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

what hit is in the album

"King" and "Shot of Love"

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

Is there any other album released with them

the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

Any hit in the album

"Summerland", "Mission", and "The Burning Down".

King's X, Megaforce era (1988-1991): The group released its debut album as King's X, entitled Out of the Silent Planet, in 1988. Despite being hailed by music critics, the album did not fare well commercially, peaking at No. 144 on the Billboard album charts. The songs "King" and "Shot of Love" were released as singles, but failed to garner much attention. The album derives its name from the C. S. Lewis novel Out of the Silent Planet. This appears to be the band's first of multiple references to the British author. In 1989, the band released Gretchen Goes to Nebraska. Considered by many fans to be their landmark album and most creative period, the album fared only slightly better from a commercial standpoint than Out of the Silent Planet. The band played with a wide variety of acts while touring in support of it, including Anthrax, Suicidal Tendencies, M.O.D., Living Colour, Billy Squier and Blue Murder. The album contains many fan favorites such as "Summerland", "Mission", and "The Burning Down". The song "The Difference (In the Garden of St. Anne's-on-the-Hill)" appears to be another C.S. Lewis reference, this time to a scene in the book That Hideous Strength, third and final installment of the "science-fiction" trilogy begun by Out of the Silent Planet. The song "Pleiades" is credited by Ty Tabor as being the genesis of the King's X sound when he presented the demo to the other band members a few years earlier. Significantly, the song "Over My Head" received moderate airplay on MTV and radio. The increase in exposure would prove beneficial when the band released their third album, Faith Hope Love, in late 1990. It was the group's first album to crack the U.S. Top 100, with the help of the successful single "It's Love". Another track, the funk-rock "We Were Born to Be Loved", enjoyed a long life on Late Show with David Letterman as a commercial bumper instrumental favorite of Paul Shaffer's CBS Orchestra. King's X was featured in the February 1991 issue of Rolling Stone (RS598). Still, with major mainstream success continuously eluding them, King's X began questioning Sam Taylor's management vision for the group. The band landed the opening slot for Iron Maiden in Europe on their No Prayer for the Dying tour in late 1990, and AC/DC in the U.S. and Europe for the first half of 1991. They also toured with Living Colour, themselves near the peak of their popularity. In the middle of that year, their song "Junior's Gone Wild" appeared on the soundtrack to the movie Bill & Ted's Bogus Journey.

was it a success

their landmark album and most creative period, the album fared only slightly better

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

What was something that happened in the Atlantic Era?

The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album,

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

when was it released?

in early 1992.

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

What else can you tell me about the atlantic era?

The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

Was this release successful?

). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts.

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

Are there any other interesting aspects about this article?

Not long after the release of King's X, the band parted ways with Taylor.

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

why did they part ways?

The details of the split were not made public,

King's X, Atlantic era (1992-1997): The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing. With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded. The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

Did they have any other albums?

"Black Flag

Tom Petty, 1988-1991: Traveling Wilburys and solo career: In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.

Who were the Traveling Wilburys?

Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne.

Tom Petty, 1988-1991: Traveling Wilburys and solo career: In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.

What did the Traveling Wilburys do?

the group decided to record a full album,

Tom Petty, 1988-1991: Traveling Wilburys and solo career: In 1988, Petty joined George Harrison's group, the Traveling Wilburys, which also included Bob Dylan, Roy Orbison, and Jeff Lynne. The band's first song, "Handle with Care", was intended as a B-side of one of Harrison's singles, but was judged too good for that purpose and the group decided to record a full album, Traveling Wilburys Vol. 1. A second Wilburys album, mischievously titled Traveling Wilburys Vol. 3 and recorded without the recently deceased Orbison, followed in 1990. The album was named Vol. 3 as a response to a series of bootlegged studio sessions being sold as Travelling Wilburys Vol. 2. Petty incorporated Traveling Wilburys songs into his live shows, consistently playing "Handle with Care" in shows from 2003 to 2006, and for his 2008 tour adding "surprises" such as "End of the Line" to the set list. In 1989, Petty released Full Moon Fever, which featured hits "I Won't Back Down", "Free Fallin'" and "Runnin' Down a Dream". It was nominally his first solo album, although several Heartbreakers and other well-known musicians participated: Mike Campbell co-produced the album with Petty and Jeff Lynne of Electric Light Orchestra, and backing musicians included Campbell, Lynne, and fellow Wilburys Roy Orbison and George Harrison (Ringo Starr appears on drums in the video for "I Won't Back Down", but they were actually performed by Phil Jones). Petty and the Heartbreakers reformed in 1991 and released Into the Great Wide Open, which was co-produced by Lynne and included the hit singles "Learning To Fly" and "Into the Great Wide Open", the latter featuring Johnny Depp and Faye Dunaway in the music video. Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance" and Thunderclap Newman's "Something in the Air". This was Stan Lynch's last recorded performance with the Heartbreakers. Petty commented "He left right after the session without really saying goodbye." The package went on to sell over ten million copies, therefore receiving diamond certification by the RIAA.

What is known about his solo career?

Before leaving MCA Records, Petty and the Heartbreakers got together to record, live in the studio, two new songs for a Greatest Hits package: "Mary Jane's Last Dance"

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

What does "Jahero" refer to?

In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary.

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

Was Jahero successful?

It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

What was Rosie Radio?

In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered.

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

Did anyone else appear on the radio show?

O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show.

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

Was Rosie Radio successful?

The radio show ended in June 2011.

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

To what does "Love, Loss, and What I Wore" refer?

In October 2009, she appeared in the original cast of Love, Loss, and What I Wore.

Rosie O'Donnell, 2007-2009: Jahero, America, Love, Loss, and What I Wore & Rosie Radio: In March 2007, O'Donnell started a video blog, Jahero, on her website Rosie.com answering fans questions, giving behind the scenes information and serving as a video diary. Originally featuring only O'Donnell and her hair and make-up artist Helene Macaulay they were soon joined by her writer from The Rosie O'Donnell Show, Janette Barber. Called Jahero, a name composed of the first two letters of each of their first names, they occasionally had short cameo appearances by View co-hosts Joy Behar, Elisabeth Hasselbeck, and Barbara Walters. Jenny McCarthy appeared once briefly, as has Hasselbeck's mother-in-law and O'Donnell's mother-in-law, her (now) ex-wife Kelli's mother. Kathy Griffin also appeared, where she read some of the questions. It became so popular that O'Donnell and her creative team considered an "on the road" version of the video blog utilizing fan-submitted suggestions. O'Donnell was the front runner for the "best celebrity blogger" category in the 2007 Blogger's Choice Awards which she won. O'Donnell expressed interest in replacing long-time host Bob Barker when he retired from CBS's game show The Price Is Right. Barker was a frequent guest on her talk show and told reporters that she "would make a fine host." Although it was reported he had "endorsed" her as a "possible successor", Barker said that he had no role in choosing his replacement. In June 2007, she announced on her blog it was not going to happen and noted she was reluctant to uproot her family to move to California. In 2008, O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist of the title character, a 16-year-old boy aging out of the foster care system. The film is based on the E.R. Frank book of the same name. In October 2009, she appeared in the original cast of Love, Loss, and What I Wore. In November 2009 ,"Rosie Radio", a daily two-hour show with O'Donnell discussing news and events on Sirius XM Radio, premiered. O'Donnell said she was approached by the company after she appeared on Howard Stern's Sirius XM show. The radio show ended in June 2011.

Are there any other interesting aspects about this article?

O'Donnell starred in and executive produced America, a Lifetime channel original movie in which she plays the therapist

Rosie O'Donnell, Early work: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.

What was her earliest work?

O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search,

Rosie O'Donnell, Early work: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.

what was star search?

talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won,

Rosie O'Donnell, Early work: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.

what did she do after star search?

she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break!

Rosie O'Donnell, Early work: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.

Did she do anything after that?

She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians.

Rosie O'Donnell, Early work: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.

Are there any other interesting aspects about this article?

O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna.

Rosie O'Donnell, Early work: O'Donnell toured as a stand-up comedian in clubs from 1979 to 1984. She got her first big break on Star Search, explaining on Larry King Live: I was 20 years old, and I was at a comedy club in Long Island. This woman came over to me and she said, I think you're funny. Can you give me your number? My dad is Ed McMahon. I was like, yeah, right. I gave her my father's phone number. I was living at home, I'm like, whatever. And about three days later, the talent booker from Star Search called and said, we're going to fly you out to L.A. [...] I won, like, five weeks in a row. And it gave me national exposure. After this success, she moved on to television sitcoms, making her series debut as Nell Carter's neighbor on Gimme a Break! in 1986. In 1988, she joined music video station VH1's lineup of veejays. She started hosting a series for VH1, Stand-up Spotlight, a showcase for up-and-coming comedians. In 1992, she starred in Stand By Your Man, a Fox Network sitcom co-starring Melissa Gilbert. The show bombed, just as O'Donnell's movie career took off. O'Donnell made her feature film debut in A League of Their Own (1992) alongside Tom Hanks, Geena Davis, and Madonna. She was originally considered for the role of Mary Sanderson in Disney's Hocus Pocus, but it was ultimately given to Kathy Najimy. O'Donnell claimed on her blog that she turned down the offer to work with Bette Midler because she refused to portray a frightening evil witch. Throughout her career, she has taken on an eclectic range of roles: she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble in the live-action film adaptation of The Flintstones with John Goodman, Elizabeth Perkins and Rick Moranis; as one of Timothy Hutton's co-stars in Beautiful Girls; as a federal agent comedically paired with Dan Aykroyd in Exit to Eden; as the voice of a tomboyish female gorilla named Terk in Disney's Tarzan; and as a baseball-loving nun in M. Night Shyamalan's Wide Awake.

Did she do any other movies?

she appeared in Sleepless in Seattle as Meg Ryan's character's best friend; as Betty Rubble

The Colbert Report, Set: The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery.

Tell me about the Set.

The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert,

The Colbert Report, Set: The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery.

Was there any one individual he focused on?

The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor.

The Colbert Report, Set: The Colbert Report satirized conservative personality-driven political pundit programs, and focused on a fictional anchorman character named Stephen Colbert, played by his real-life namesake. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." Colbert joined Comedy Central's The Daily Show in 1997, a year following its launch, then hosted by Craig Kilborn. When Jon Stewart became the program's host in 1999, The Daily Show developed a markedly different style, bringing a sharper political focus to the humor than the show previously exhibited. Colbert recalled that Stewart specifically asked him to have a political viewpoint, and to allow his passion for issues to carry through into his comedy. Colbert became a fixture on The Daily Show, occasionally hosting in Stewart's absence. In 2003, the program began running advertisements for a fictional program titled The Colbert Report, starring Colbert as a parody of cable news pundits. When fellow Daily Show star Steve Carell left to pursue a film and television career, Comedy Central made attempts to keep Colbert at the network. He pitched The Colbert Report to the channel in 2004. Stewart pushed Comedy Central to pick up the show, and Colbert was given an eight-week tryout. Following the show's immediate success, the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening. The fictional Colbert anchorman character became gradually toned down over the course of the show's run, as the host believed he would eventually need to move beyond it. He began to regard it as an act of discipline to perform as the character; he later remarked, "to model behavior, you have to consume that behavior on a regular basis. It became very hard to watch punditry of any kind, of whatever political stripe." With his contract set to end in December 2014, he had already decided to leave the show when he was contacted by CBS to replace David Letterman as the host of its Late Show franchise. The show's ending was announced concurrently with Colbert's jump to CBS in April 2014. The last episode aired on December 18, 2014. The show was replaced on Comedy Central's late-night lineup by The Nightly Show with Larry Wilmore, another spinoff of The Daily Show. The character first made appearances on the short-lived sketch comedy series The Dana Carvey Show in 1996, described as "a self-important, trench-coated reporter who does on-location stories in a way that suggests his own presence is the real scoop." When The Daily Show ran short on time, a short piece starring Colbert, advertising a fictional program titled The Colbert Report, was added into the program. In these sketches, Colbert began to amplify his character to parody news pundits. Colbert anchored many sketches in his persona, including "Even Stepvhen", in which he debated current issues with fellow correspondent Steve Carell, often devolving into petty name-calling and insults. Colbert and Carell were viewed as potential breakout stars by staff, and when Carell left the series in 2004 to start a US version of The Office, Comedy Central made attempts to keep Colbert at the network. Stewart and Karlin were already looking to expand the Daily Show franchise and their production company, Busboy. The duo supposedly came up with the idea for The Colbert Report after watching coverage of the sexual harassment lawsuit filed against Bill O'Reilly. Colbert met with network president Doug Herzog the day following the 2004 Emmy Awards to first discuss the concept. The one-line pitch Colbert, Karlin and Stewart developed was "Our version of the O'Reilly Factor with Stephen Colbert." Herzog committed to an eight-week tryout period without a pilot. By the time of the 2004 election, the character was fully developed. In creating the character, which is designed to be repellant but entertaining, Colbert conferred with Stewart and Karlin. In expressing his hope that his character not be "an asshole," Stewart remarked, "You're not an asshole. You're an idiot. There's a difference." Head writer Allison Silverman reiterated this trait in a later interview, commenting, "There is an essential innocence to his character." Colbert initially felt the character might not be sustainable in a longer format. Despite this, The Colbert Report was designed as an extension of the satiric goals of The Daily Show, combining it with general silliness and character-driven humor. To make sure there was no overlap in subject matter with The Daily Show, Karlin made trips between the studios during the show's early days to supervise scripts. For the first several years of the program, Colbert made an appearance at the end of each Daily Show in split-screen, having a short discussion with Stewart preceding his show. The Colbert Report was taped and broadcast four nights a week, Monday-Thursday. The show's taping studio, at 513 W. 54th Street in New York City's Hell's Kitchen neighborhood, was used for The Daily Show until July 2005, and has a capacity of 150. NEP Studio 54 on 54th Street is owned by NEP Broadcasting which is New York City's largest production facility and also owns The Daily Show set at NEP Studio 52 two blocks south on 52nd Street. Aside from the set, the show's production offices have been described as "loft-like" and "all overhead pipes and exposed brick." Following the show's conclusion, the building was used for The Nightly Show with Larry Wilmore. The set for The Colbert Report was called "The Eagle's Nest" and reflects and facilitates Colbert's self-aggrandizing style. It was designed by Jim Fenhagen, and was intended to both capture the character's ego and be "hyper-American." Elements incorporated into the set included architectural lines converged to Colbert's desk, and radial beams coming out from behind his chair. Colbert's main influence for the set was Leonardo da Vinci's The Last Supper, with the Colbert character as Jesus Christ. In the set, "virtually every inch emblazoned with Colbert's name or the initial C"; his name, initials and the name of the show appear on the desk's plasma screen, on the rafters above the desk, and the desk itself is shaped like a giant "C". The background includes faux artifacts from the character's backstory, which are seldom seen by viewers. "I kept saying, 'People might not really notice this.' But when you're working with a comedy team, they really get into it. They couldn't help themselves," said Fenhagen. Among these touches are the United States Constitution, a miniature Ten Commandments, and a CliffNotes guide to American government. The set was described as "part Riefenstahlesque homage to the star, part symbologic gallery -- where alert viewers are rewarded with snarky jokes at every turn." Above a fireplace is a portrait of Colbert; it originally showed Colbert standing in front of the same mantel with another portrait of himself. On the show's first anniversary, the portrait was replaced by one of Colbert standing in front of the mantel with the first portrait above it, and with each successive year, it became Colbert standing in front of the previous year's painting. The graphics used throughout the show and the studio itself are saturated with American flags, bald eagles, Captain America's shield, and other patriotic imagery.

How was the show received by critics?

the show "quickly became a fixture in the late-night lineup." At its peak, the show averaged 1.5 million viewers each evening.

The Colbert Report, Later years: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.

What happened to the show in the later years?

In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration.

The Colbert Report, Later years: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.

How did that turn out?

The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--

The Colbert Report, Later years: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.

Was the show still popular during this time?

President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.;

The Colbert Report, Later years: In 2010, while in character, Colbert appeared before judiciary subcommittee hearing on the issue of farm workers and immigration. The New Yorker used Colbert's testimony before Congress as an example of the "third" Colbert: "Colbert was thoughtful and sincere--and had ruined the whole thing. By speaking honestly, he had become the very thing he was mocking, a celebrity testifying before Congress." Beginning in June 2011, the show created a long-running gag that involved Colbert starting his own actual super PAC, Americans for a Better Tomorrow, Tomorrow, described by the character as "100 percent legal and at least 10 percent ethical." In 2012, Colbert interviewed illustrator/author Maurice Sendak, who managed to get him to break character; show staff and Colbert himself retrospectively labeled the segment one of the show's more memorable moments. The Los Angeles Times called the September 2013 interview with intelligence official Philip Mudd his "most awkward interview", stating Mudd "could barely disguise his contempt" for Colbert. President Barack Obama guested during the show's final month, in a show taped from George Washington University in Washington, D.C.; Obama sat in Colbert's seat and presided over "The Word" segment. The final episode aired on December 18, 2014. In the episode Stephen becomes immortal after accidentally killing "Grimmy" during the opening of the segment of "Cheating Death with Dr. Stephen T. Colbert, D.F.A.". This leads to Stephen singing "We'll Meet Again" in its entirety along with a large crowd of several recognizable figures, before meeting with Santa Claus, Abraham Lincoln, and Alex Trebek on the roof of the studio. As they ride off together in Santa's sleigh, Stephen bids a final farewell to his viewers and tosses back to Jon Stewart at the desk of The Daily Show, who thanks Stephen for his report.

Any other well-known guests?

In 2012, Colbert interviewed illustrator/author Maurice Sendak,

Abu Zubaydah, August 2002 memo: In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.

Are there any other interesting aspects about this article?

have reported the CIA was already using these harsh tactics before the memo authorizing their use was written,

Abu Zubaydah, August 2002 memo: In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.

Were the CIA's tactics deemed effective?

Many other techniques developed by the CIA were held to constitute inhumane

Abu Zubaydah, August 2002 memo: In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.

Are there any other interesting aspects about this article?

the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding.

Abu Zubaydah, August 2002 memo: In early July 2002 the Associate General Council CTC/Legal Group started drafting a memo to the Attorney General requesting the approval of "aggressive" interrogation methods, which otherwise would be prohibited under the provisions of Section 2340-2340B, Title 18, United States Code, on Abu Zubaydah. This memo, drafted by Office of Legal Counsel, Jay Bybee and his assistant John Yoo, is also referred to as the first Torture Memo. Addressed to CIA acting General Counsel John A. Rizzo at his request, the purpose of the memo was to describe and authorize specific enhanced interrogation techniques to be used on Zubaydah. On July 26, 2002 Deputy Assistant Attorney General John Yoo informed the CIA that Attorney General John Ashcroft had approved waterboarding of Abu Zubaydah. Journalists including Jane Mayer, Joby Warrick and Peter Finn, and Alex Koppelman have reported the CIA was already using these harsh tactics before the memo authorizing their use was written, and that it was used to provide after-the-fact legal support for harsh interrogation techniques. A Department of Justice 2009 report regarding prisoner abuses reportedly stated the memos were prepared one month after Zubaydah had already been subjected to the specific techniques authorized in August 1, 2002, memo. John Kiriakou stated in July 2009 that Zubaydah was waterboarded in the early summer of 2002, months before August 1, 2002, memo was written. The memo described ten techniques which the interrogators wanted to use: "(1) attention grasp, (2) walling, (3) facial hold, (4) facial slap (insult slap), (5) cramped confinement, (6) wall standing, (7) stress positions, (8) sleep deprivation, (9) insects placed in a confinement box, and (10) the waterboard." Many of the techniques were, until then, generally considered illegal. Many other techniques developed by the CIA were held to constitute inhumane and degrading treatment and torture under the United Nations Convention against Torture and Article 3 of the European Convention on Human Rights. As reported later, many of these interrogation techniques were previously considered illegal under U.S. and international law and treaties at the time of Zubaydah's capture. For instance, the United States had prosecuted Japanese military officials after World War II and American soldiers after the Vietnam War for waterboarding. Since 1930, the United States had defined sleep deprivation as an illegal form of torture. Many other techniques developed by the CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3 of the European Convention on Human Rights.

Did any CIA officials justify the program?

CIA constitute inhuman and degrading treatment and torture under the United Nations Convention against Torture, and Article 3

Abu Zubaydah, May 30, 2005, memo: The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.

what was the memo about

It claimed that due to the enhanced interrogation techniques, Zubaydah

Abu Zubaydah, May 30, 2005, memo: The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.

were his interroorgation tactics violent

It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives,

Abu Zubaydah, May 30, 2005, memo: The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.

anything stand out in article

" This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means.

Abu Zubaydah, May 30, 2005, memo: The final memo mentioned Zubaydah several times. It claimed that due to the enhanced interrogation techniques, Zubaydah "provided significant information on two operatives, [including] Jose Padilla[,] who planned to build and detonate a 'dirty bomb' in the Washington DC area." This claim is strongly disputed by Ali Soufan, the FBI interrogator who first interrogated Zubaydah following his capture, by traditional means. He said the most valuable information was gained before torture was used. Other intelligence officers have also disputed that claim. Soufan, when asked in 2009 by Senator Sheldon Whitehouse during a Congressional hearing if the memo was incorrect, testified that it was. The memo noted that not all of the waterboarding sessions were necessary for Zubaydah, since the on-scene interrogation team determined he had stopped producing actionable intelligence. The memo reads: This is not to say that the interrogation program has worked perfectly. According to the IG Report, the CIA, at least initially, could not always distinguish detainees who had information but were successfully resisting interrogation from those who did not actually have the information. See IG Report at 83-85. On at least one occasion, this may have resulted in what might be deemed in retrospect to have been the unnecessary use of enhanced techniques. On that occasion, although the on-scene interrogation team judged Zubaydah to be compliant, elements within CIA Headquarters still believed he was withholding information. See id at 84. At the direction of CIA Headquarters, interrogators therefore used the waterboard one more time on Zubaydah. John McLaughlin, former acting CIA director, stated in 2006, "I totally disagree with the view that the capture of Zubaydah was unimportant. Zubaydah was woven through all of the intelligence prior to 9/11 that signaled a major attack was coming, and his capture yielded a great deal of important information." In his 2007 memoir, former CIA Director George Tenet writes: A published report in 2006 contended that Zubaydah was mentally unstable and that the administration had overstated his importance. Baloney. Zubaydah had been at the crossroads of many al-Qa'ida operations and was in position to - and did - share critical information with his interrogators. Apparently, the source of the rumor that Zubaydah was unbalanced was his personal diary, in which he adopted various personas. From that shaky perch, some junior Freudians leapt to the conclusion that Zubaydah had multiple personalities. In fact, Agency psychiatrists eventually determined that in his diary he was using a sophisticated literary device to express himself. And, boy, did he express himself.

what were some of the interrigation methods

The memo noted that not all of the waterboarding sessions were necessary for Zubaydah,

Stanley Donen, Early life and stage career: Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him. Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role. Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.

What early stage careers did Donen perform in?

Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater.

Stanley Donen, Early life and stage career: Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him. Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role. Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.

What else did Donen study to get better at acting?

Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940.

Stanley Donen, Early life and stage career: Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him. Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role. Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.

What other actors influenced his acting skills?

Fred Astaire and Ginger Rogers

Stanley Donen, Early life and stage career: Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him. Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role. Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.

What show was he in with Astaire and Rogers?

The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio.

Stanley Donen, Early life and stage career: Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him. Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role. Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.

When did he get his big break into Hollywood?

After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott.

Stanley Donen, Early life and stage career: Stanley Donen was born in Columbia, South Carolina to Mordecai Moses Donen, a dress-shop manager, and Helen (Cohen), the daughter of a jewelry salesman. His younger sister Carla Donen Davis was born in August 1937. Although born to Jewish parents, he became an atheist in his youth. Donen described his childhood as lonely and unhappy as one of the few Jews in Columbia, and he was occasionally bullied by anti-semitic classmates at school. To help cope with his isolation, he spent much of his youth in local movie theaters and was especially fond of Westerns, comedies and thrillers. The film that had the strongest impact on him was the 1933 Fred Astaire and Ginger Rogers musical Flying Down to Rio. Donen said that he "must have seen the picture thirty or forty times. I was transported into some sort of fantasy world where everything seemed to be happy, comfortable, easy and supported. A sense of well-being filled me." He shot and screened home movies with an 8 mm camera and projector that his father bought for him. Inspired by Astaire, Donen took dance lessons in Columbia and performed at the local Town Theater. His family often traveled to New York City during summer vacations where he saw Broadway musicals and took further dance lessons. One of his early instructors in New York was Ned Wayburn, who had taught eleven-year-old Astaire in 1910. After graduating from high school at sixteen, Donen attended the University of South Carolina for one summer semester, studying psychology. Encouraged by his mother, he moved to New York City to pursue dancing on stage in the fall of 1940. After two auditions he was cast as a chorus dancer in the original Broadway production of Rodgers and Hart's Pal Joey, directed by the legendary George Abbott. The titular Pal Joey was played by the young up-and-comer Gene Kelly, who became a Broadway star in the role. Abbott cast Donen in the chorus of his next Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer. Eventually Donen was fired from Best Foot Forward, but in 1942 was the stage manager and assistant choreographer for Abbott's next show Beat the Band. In 1946, Donen briefly returned to Broadway to help choreograph dance numbers for Call Me Mister.

When did he decide to become a cheoreographer?

Broadway show Best Foot Forward. He became the show's assistant stage manager, and Kelly asked him to be his assistant choreographer.

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

What did he write?

Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians.

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

Any other book writen by him?

Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks.

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

Who published these books?

This illustrated work was published in 1976 and was co-authored with Bert Sugar.

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

how many books did he publish?

Randi is the author of ten books,

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

Are there any other interesting aspects about this article?

In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims.

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

What were his paranormal claims?

The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery

James Randi, Author: Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

Anything else interesting about his books

Randi was a regular contributor to Skeptic magazine,

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

When did he start JREF?

In 1996,

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

Why did he start it?

Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle.

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

Did he have any sponsors or was it privately funded?

Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists.

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

Was that hosting well received?

quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK.

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

Where was his foundations HQ?

the U.S. and Canada,

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

Was it a struggle for him to gain support in other countries?

It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts,

James Randi, James Randi Educational Foundation (JREF): In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gives examples of what he considers the nonsense that he deals with every day. Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF. James Randi began a series of conferences known as "The Amazing Meeting" - TAM - which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted large percentage of younger folks. Randi has been regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he has occasionally contributed to The Skeptics' Guide to the Universe podcast with a column titled "Randi Speaks." In addition, The Amazing Show is a podcast in which Randi shares various anecdotes in an interview format. In 2014 Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner Jose Alvarez, a.k.a. Deyvi Pena. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland and Washington, D.C., where it won the Audience Award for Best Feature. It has since been captioned in ten different languages, shown worldwide, and was also positively received by critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016. In 2017, he appeared in animated form on Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse and indicated that this is a balance many magicians struggle with.

What podcasts has he been featured on?

The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry.

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

When did Andre start his career?

At the age of 17, Roussimoff moved to Paris and was taught professional wrestling

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

Did he wrestle with anyone of note?

was made the company's tag-team champion alongside Michael Nador.

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

When did he find success?

Roussimoff next moved to Montreal, Canada, where he became an immediate success,

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

What made him an immediate success?

the novelty of his size

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

Did he ever make any televised appearances?

set up a travel-intensive schedule, lending him to wrestling associations around the world,

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

Who was his most notable company to wrestle with?

World Wide Wrestling Federation (WWWF),

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

During his early career did he travel to other countries to wrestle?

Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971,

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

Are there any other interesting aspects about this article?

He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise.

André the Giant, Early career: At the age of 17, Roussimoff moved to Paris and was taught professional wrestling by a local promoter who recognised the earning potential of Roussimoff's size. He trained at night and worked as a mover during the day to pay living expenses. Roussimoff was billed as "Geant Ferre", a name based on the French folk hero Grand Ferre, and began wrestling in Paris and nearby areas. Canadian promoter and wrestler Frank Valois met Roussimoff in 1966, becoming his business manager and adviser. Roussimoff began making a name for himself wrestling in the United Kingdom, Germany, Australia, New Zealand, and Africa. He made his Japanese debut in 1970, billed as "Monster Roussimoff", wrestling for the International Wrestling Enterprise. Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion alongside Michael Nador. During his time in Japan, doctors first informed Roussimoff that he suffered from acromegaly. Roussimoff next moved to Montreal, Canada, where he became an immediate success, regularly selling out the Montreal Forum. However, promoters eventually ran out of plausible opponents for him and, as the novelty of his size wore off, the gate receipts dwindled. Roussimoff was defeated by Adnan Al-Kaissie in Baghdad in 1971, and wrestled numerous times in 1972 for Verne Gagne's American Wrestling Association (AWA) as a special attraction until Valois appealed to Vince McMahon Sr., founder of the World Wide Wrestling Federation (WWWF), for advice. McMahon suggested several changes. He felt Roussimoff should be portrayed as a large, immovable monster, and to enhance the perception of his size, McMahon discouraged Roussimoff from performing maneuvers such as dropkicks (although he was capable of performing such agile maneuvers before his health deteriorated in later life). He also began billing Roussimoff as "Andre the Giant" and set up a travel-intensive schedule, lending him to wrestling associations around the world, to keep him from becoming overexposed in any area. Promoters had to guarantee Roussimoff a certain amount of money as well as pay McMahon's WWWF booking fee.

Was he successful in Japan?

Wrestling as both a singles and tag-team competitor, he quickly was made the company's tag-team champion

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

What appearances did he make in 1990?

Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California.

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Did he make any other appearances in 1990?

He appeared in an interview segment with Captain Lou Albano and put over the UWF.

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Did he make any appearances in wrestling during 1990-1992?

On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich).

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Did he win any matches during those years?

in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland.

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

What was his most notable appearance during those years?

Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Did he have any other notable match ups?

Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters.

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Was that match a success for him?

Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre,

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Why was he on crutches?

Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury.

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

Was there anything else notable during this time?

His final WWF appearance came at a house show in Paris, France, on October 9.

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

How well did he perform?

He was in Davey Boy Smith's corner

André the Giant, Sporadic appearances (1990-1992): Andre returned in the winter of 1990, but it was not to the World Wrestling Federation. Instead, Andre made an interview appearance for Herb Abrams' fledgling Universal Wrestling Federation on October 11th in Reseda, California. (the segment aired in 1991). He appeared in an interview segment with Captain Lou Albano and put over the UWF. The following month, on November 30th at a house show in Miami, Florida the World Wrestling Federation announced Andre's return as a participant in the 1991 Royal Rumble (to be held in Miami, FL two months later). Andre was also mentioned as a participant on television but would ultimately back out due to a leg injury. His on-air return finally came at WrestleMania VII, when he came to the aid of The Big Boss Man in his match against Mr. Perfect. Andre finally returned to action on April 26, 1991, in a six-man tag-team matchup when he teamed with the Rockers in a winning effort against Mr. Fuji and the Orient Express at a house show in Belfast, Northern Ireland. On May 10th he participated in a 17-man battle-royal at a house show in Detroit. (won by Kerry Von Erich). His last major WWF storyline following WrestleMania VII had the major heel managers (Bobby Heenan, Sensational Sherri, Slick, and Mr. Fuji) trying to recruit Andre one-by-one, only to be turned down in various humiliating ways (e.g. Heenan had his hand crushed, Sherri received a spanking, Slick got locked in the trunk of the car he was offering to Andre and Mr. Fuji got a pie in his face). Finally, Jimmy Hart appeared live on WWF Superstars to announce that he had successfully signed Andre to tag-team with Earthquake. However, when asked to confirm this by Gene Okerlund, Andre denied the claims. This led to Earthquake's attacking Andre from behind (injuring his knee). Jimmy Hart would later get revenge for the humiliation by secretly signing Tugboat and forming the Natural Disasters. This led to Andre's final major WWF appearance at SummerSlam '91, where he seconded the Bushwhackers in their match against the Disasters. Andre was on crutches at ringside, and after the Disasters won the match, they set out to attack Andre, but the Legion of Doom made their way to ringside and got in between them and the Giant, who was preparing to defend himself with one of his crutches. The Disasters left the ringside area as they were outnumbered by the Legion of Doom, the Bushwhackers and Andre, who struck both Earthquake and Typhoon (the former Tugboat) with the crutch as they left. His final WWF appearance came at a house show in Paris, France, on October 9. He was in Davey Boy Smith's corner as the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win. His last U.S. television appearance was in a brief interview on World Championship Wrestling's (WCW) Clash of the Champions XX special that aired on TBS on 2 September 1992.

How did that end up?

the Bulldog faced Earthquake. Davey Boy hit Earthquake with Andre's crutch, allowing Smith to win.

Affirmed, The Triple Crown: Alydar was made the 6-5 favorite for Kentucky Derby, with Affirmed the second choice at 9-5 and undefeated Sensitive Prince the third choice at 9-2. At the start of the Kentucky Derby, Sensitive Prince took the early lead as Affirmed ran in third through the early stages, while Alydar stayed far back. Affirmed made a strong move for the lead on the far turn, put away a challenge by Wood Memorial winner Believe It, and held off Alydar's fast-closing charge to win by 1 1/2 lengths. Affirmed now had a 5-2 edge in the series. In the Preakness Stakes, Affirmed set the pace. Alydar made his big move on the far turn, at the same point in the race where Affirmed made his winning move in the Derby. Affirmed held a short lead entering the stretch and held it to defeat Alydar by a neck. Alydar's partisans assumed that the 1 1/2 mile distance of the Belmont, two furlongs longer than the Derby and 5/16 of a mile longer than the Preakness Stakes, would favor Alydar with his finishing style and staying pedigree, and he would deny Affirmed the Triple Crown. Trainer Veitch removed Alydar's blinkers for the Belmont, saying that if Alydar got a better look at Affirmed, maybe he would get by him. In the Belmont, Affirmed led and set a very slow pace, going the first quarter mile in 25 seconds and the half in 50 seconds. Alydar's jockey, Jorge Velasquez, put Alydar close to the pace, and moved alongside Affirmed with more than seven furlongs to go. For more than six furlongs (half the distance of the race), the colts raced neck and neck, pulling away from the rest of the field. Alydar got his nose in front at mid-stretch, but just as Affirmed appeared to tire, Cauthen went to a left-handed whip, something he had never done before in his eight rides on Affirmed. Affirmed won by a nose to become racing's 11th (and last winner for 37 years until American Pharoah won in 2015), Triple Crown winner. After the third slowest start in Belmont Stakes history, they raced the fastest last mile in Belmont Stakes history, 3/4 in 1:14, the mile in 1:37 2/5 and finished in 2:26 4/5. It was, at the time, the third fastest Belmont ever, behind Secretariat and Gallant Man. His Triple Crown win set two records: the shortest and longest gaps between the previous and next Triple Crown winners. Affirmed's win in 1978 was the first time the Triple Crown had been won in consecutive years (Seattle Slew won in 1977). Affirmed's win also marked the start of the longest gap until the next Triple Crown winner, with American Pharoah's win on June 6, 2015 occurring 37 years later.

Did Affirmed win the triple crown

His Triple Crown win set two records: the shortest and longest gaps between the previous and next Triple Crown winners.

Affirmed, The Triple Crown: Alydar was made the 6-5 favorite for Kentucky Derby, with Affirmed the second choice at 9-5 and undefeated Sensitive Prince the third choice at 9-2. At the start of the Kentucky Derby, Sensitive Prince took the early lead as Affirmed ran in third through the early stages, while Alydar stayed far back. Affirmed made a strong move for the lead on the far turn, put away a challenge by Wood Memorial winner Believe It, and held off Alydar's fast-closing charge to win by 1 1/2 lengths. Affirmed now had a 5-2 edge in the series. In the Preakness Stakes, Affirmed set the pace. Alydar made his big move on the far turn, at the same point in the race where Affirmed made his winning move in the Derby. Affirmed held a short lead entering the stretch and held it to defeat Alydar by a neck. Alydar's partisans assumed that the 1 1/2 mile distance of the Belmont, two furlongs longer than the Derby and 5/16 of a mile longer than the Preakness Stakes, would favor Alydar with his finishing style and staying pedigree, and he would deny Affirmed the Triple Crown. Trainer Veitch removed Alydar's blinkers for the Belmont, saying that if Alydar got a better look at Affirmed, maybe he would get by him. In the Belmont, Affirmed led and set a very slow pace, going the first quarter mile in 25 seconds and the half in 50 seconds. Alydar's jockey, Jorge Velasquez, put Alydar close to the pace, and moved alongside Affirmed with more than seven furlongs to go. For more than six furlongs (half the distance of the race), the colts raced neck and neck, pulling away from the rest of the field. Alydar got his nose in front at mid-stretch, but just as Affirmed appeared to tire, Cauthen went to a left-handed whip, something he had never done before in his eight rides on Affirmed. Affirmed won by a nose to become racing's 11th (and last winner for 37 years until American Pharoah won in 2015), Triple Crown winner. After the third slowest start in Belmont Stakes history, they raced the fastest last mile in Belmont Stakes history, 3/4 in 1:14, the mile in 1:37 2/5 and finished in 2:26 4/5. It was, at the time, the third fastest Belmont ever, behind Secretariat and Gallant Man. His Triple Crown win set two records: the shortest and longest gaps between the previous and next Triple Crown winners. Affirmed's win in 1978 was the first time the Triple Crown had been won in consecutive years (Seattle Slew won in 1977). Affirmed's win also marked the start of the longest gap until the next Triple Crown winner, with American Pharoah's win on June 6, 2015 occurring 37 years later.

Which race did he win first

Kentucky Derby,

Affirmed, The Triple Crown: Alydar was made the 6-5 favorite for Kentucky Derby, with Affirmed the second choice at 9-5 and undefeated Sensitive Prince the third choice at 9-2. At the start of the Kentucky Derby, Sensitive Prince took the early lead as Affirmed ran in third through the early stages, while Alydar stayed far back. Affirmed made a strong move for the lead on the far turn, put away a challenge by Wood Memorial winner Believe It, and held off Alydar's fast-closing charge to win by 1 1/2 lengths. Affirmed now had a 5-2 edge in the series. In the Preakness Stakes, Affirmed set the pace. Alydar made his big move on the far turn, at the same point in the race where Affirmed made his winning move in the Derby. Affirmed held a short lead entering the stretch and held it to defeat Alydar by a neck. Alydar's partisans assumed that the 1 1/2 mile distance of the Belmont, two furlongs longer than the Derby and 5/16 of a mile longer than the Preakness Stakes, would favor Alydar with his finishing style and staying pedigree, and he would deny Affirmed the Triple Crown. Trainer Veitch removed Alydar's blinkers for the Belmont, saying that if Alydar got a better look at Affirmed, maybe he would get by him. In the Belmont, Affirmed led and set a very slow pace, going the first quarter mile in 25 seconds and the half in 50 seconds. Alydar's jockey, Jorge Velasquez, put Alydar close to the pace, and moved alongside Affirmed with more than seven furlongs to go. For more than six furlongs (half the distance of the race), the colts raced neck and neck, pulling away from the rest of the field. Alydar got his nose in front at mid-stretch, but just as Affirmed appeared to tire, Cauthen went to a left-handed whip, something he had never done before in his eight rides on Affirmed. Affirmed won by a nose to become racing's 11th (and last winner for 37 years until American Pharoah won in 2015), Triple Crown winner. After the third slowest start in Belmont Stakes history, they raced the fastest last mile in Belmont Stakes history, 3/4 in 1:14, the mile in 1:37 2/5 and finished in 2:26 4/5. It was, at the time, the third fastest Belmont ever, behind Secretariat and Gallant Man. His Triple Crown win set two records: the shortest and longest gaps between the previous and next Triple Crown winners. Affirmed's win in 1978 was the first time the Triple Crown had been won in consecutive years (Seattle Slew won in 1977). Affirmed's win also marked the start of the longest gap until the next Triple Crown winner, with American Pharoah's win on June 6, 2015 occurring 37 years later.

Who did he beat in the Derby

held off Alydar's fast-closing charge to win by 1 1/2 lengths.

Affirmed, The Triple Crown: Alydar was made the 6-5 favorite for Kentucky Derby, with Affirmed the second choice at 9-5 and undefeated Sensitive Prince the third choice at 9-2. At the start of the Kentucky Derby, Sensitive Prince took the early lead as Affirmed ran in third through the early stages, while Alydar stayed far back. Affirmed made a strong move for the lead on the far turn, put away a challenge by Wood Memorial winner Believe It, and held off Alydar's fast-closing charge to win by 1 1/2 lengths. Affirmed now had a 5-2 edge in the series. In the Preakness Stakes, Affirmed set the pace. Alydar made his big move on the far turn, at the same point in the race where Affirmed made his winning move in the Derby. Affirmed held a short lead entering the stretch and held it to defeat Alydar by a neck. Alydar's partisans assumed that the 1 1/2 mile distance of the Belmont, two furlongs longer than the Derby and 5/16 of a mile longer than the Preakness Stakes, would favor Alydar with his finishing style and staying pedigree, and he would deny Affirmed the Triple Crown. Trainer Veitch removed Alydar's blinkers for the Belmont, saying that if Alydar got a better look at Affirmed, maybe he would get by him. In the Belmont, Affirmed led and set a very slow pace, going the first quarter mile in 25 seconds and the half in 50 seconds. Alydar's jockey, Jorge Velasquez, put Alydar close to the pace, and moved alongside Affirmed with more than seven furlongs to go. For more than six furlongs (half the distance of the race), the colts raced neck and neck, pulling away from the rest of the field. Alydar got his nose in front at mid-stretch, but just as Affirmed appeared to tire, Cauthen went to a left-handed whip, something he had never done before in his eight rides on Affirmed. Affirmed won by a nose to become racing's 11th (and last winner for 37 years until American Pharoah won in 2015), Triple Crown winner. After the third slowest start in Belmont Stakes history, they raced the fastest last mile in Belmont Stakes history, 3/4 in 1:14, the mile in 1:37 2/5 and finished in 2:26 4/5. It was, at the time, the third fastest Belmont ever, behind Secretariat and Gallant Man. His Triple Crown win set two records: the shortest and longest gaps between the previous and next Triple Crown winners. Affirmed's win in 1978 was the first time the Triple Crown had been won in consecutive years (Seattle Slew won in 1977). Affirmed's win also marked the start of the longest gap until the next Triple Crown winner, with American Pharoah's win on June 6, 2015 occurring 37 years later.

What was the next race he won

Preakness Stakes,

Affirmed, The Triple Crown: Alydar was made the 6-5 favorite for Kentucky Derby, with Affirmed the second choice at 9-5 and undefeated Sensitive Prince the third choice at 9-2. At the start of the Kentucky Derby, Sensitive Prince took the early lead as Affirmed ran in third through the early stages, while Alydar stayed far back. Affirmed made a strong move for the lead on the far turn, put away a challenge by Wood Memorial winner Believe It, and held off Alydar's fast-closing charge to win by 1 1/2 lengths. Affirmed now had a 5-2 edge in the series. In the Preakness Stakes, Affirmed set the pace. Alydar made his big move on the far turn, at the same point in the race where Affirmed made his winning move in the Derby. Affirmed held a short lead entering the stretch and held it to defeat Alydar by a neck. Alydar's partisans assumed that the 1 1/2 mile distance of the Belmont, two furlongs longer than the Derby and 5/16 of a mile longer than the Preakness Stakes, would favor Alydar with his finishing style and staying pedigree, and he would deny Affirmed the Triple Crown. Trainer Veitch removed Alydar's blinkers for the Belmont, saying that if Alydar got a better look at Affirmed, maybe he would get by him. In the Belmont, Affirmed led and set a very slow pace, going the first quarter mile in 25 seconds and the half in 50 seconds. Alydar's jockey, Jorge Velasquez, put Alydar close to the pace, and moved alongside Affirmed with more than seven furlongs to go. For more than six furlongs (half the distance of the race), the colts raced neck and neck, pulling away from the rest of the field. Alydar got his nose in front at mid-stretch, but just as Affirmed appeared to tire, Cauthen went to a left-handed whip, something he had never done before in his eight rides on Affirmed. Affirmed won by a nose to become racing's 11th (and last winner for 37 years until American Pharoah won in 2015), Triple Crown winner. After the third slowest start in Belmont Stakes history, they raced the fastest last mile in Belmont Stakes history, 3/4 in 1:14, the mile in 1:37 2/5 and finished in 2:26 4/5. It was, at the time, the third fastest Belmont ever, behind Secretariat and Gallant Man. His Triple Crown win set two records: the shortest and longest gaps between the previous and next Triple Crown winners. Affirmed's win in 1978 was the first time the Triple Crown had been won in consecutive years (Seattle Slew won in 1977). Affirmed's win also marked the start of the longest gap until the next Triple Crown winner, with American Pharoah's win on June 6, 2015 occurring 37 years later.

Who did he beat in the preakness

Affirmed held a short lead entering the stretch and held it to defeat Alydar by a neck.

Sonata Arctica, Unia and The Days of Grays (2007-2011): On May 25, 2007, Unia was released. The album's first single, "Paid In Full", was released on April 27, 2007. On August 6, 2007, the band announced on their website that guitarist Jani Liimatainen had been asked to leave the band due to problems related to his conscription. He was replaced by Elias Viljanen who had already filled in for him in the band's Finnish and Japanese shows during the spring and summer. In October 2007 Sonata Arctica headlined the ProgPower USA VIII. Later the band supported Nightwish across their 2008 tour of United States and Canada and headlined at the shows that Nightwish cancelled due to Anette Olzon's sudden severe sickness. It was announced on September 4, 2008 that the band's first two albums would be re-released with bonus tracks by Spinefarm UK on October 6. The Days of Grays was released on September 16, 2009 in Finland and September 22 in the USA. Henrik stated that the new album would be in the same vein as Unia, but not as complex and darker. Singles from this album include "Flag in the Ground" and "The Last Amazing Grays". On August 28, 2009, the music video of "Flag In The Ground" was released to the web. The limited 2CD European edition of the album featured many of the album tracks with all instruments performed by a symphony orchestra. The band also toured with DragonForce for the third U.S. leg of the Ultra Beatdown. In early 2010 they engaged on an Australian tour with Ensiferum and Melbourne band Vanishing Point. In April 2010, Sonata Arctica embarked on their USA and Canada Headlining tour for The Days of Grays. In October they headlined in Chile in support of the same album.

Who were the members of the band during this period?

Jani Liimatainen had been asked to leave the band due to problems related to his conscription.