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According to Crowfurd, the word "kelamantan" is the name of a type of mango ("Mangifera"), though he adds that the word is fanciful and unpopular. The local mango, called "klemantan", is still widely found in rural Ketapang and surrounding areas of West Kalimantan. Internationally, it is known as Borneo, a name derived from European contact with the Brunei kingdom in the 16th century, during the Age of Exploration. On a map from around 1601, Brunei city is referred to as Borneo, and the whole island is also labelled Borneo. The name may derive from the Sanskrit word "" (), meaning either "water" or Varuna, the Hindu god of rain. Another source states that it derives from the Sanskrit word "kalamanthana", meaning "burning weather", possibly to describe the island's hot and humid tropical weather. In the Indianized Malay era the name "Kalamanthana" was derived from the Sanskrit terms "kala" (time or season) and "manthana" (churning, kindling, or creating fire by friction), which possibly describes the hot weather.
In 977, Chinese records began to use the term "Bo-ni" to refer to Borneo. In 1225, it was also mentioned by the Chinese official Chau Ju-Kua (趙汝适). The Javanese manuscript "Nagarakretagama", written by Majapahit court poet Mpu Prapanca in 1365, mentions the island as "Nusa Tanjungnagara", which means the "island of the Tanjungpura Kingdom". Geography. Geology. Borneo was formed through Mesozoic accretion of microcontinental fragments, ophiolite terranes and island arc crust onto a Paleozoic continental core. At the beginning of the Cenozoic Borneo formed a promontory of Sundaland which partly separated from Asian mainland by the proto-South China Sea. The oceanic part of the proto-South China Sea was subducted during the Paleogene period and a large accretionary complex formed along the northwestern of the island of Borneo. In the early Miocene uplift of the accretionary complex occurred as a result of underthrusting of thinned continental crust in northwest. The uplift may have also resulted from shortening due to the counter-clockwise rotation of Borneo between 20 and 10 mega-annum (Ma) as a consequence of Australia-Southeast Asia collision. Large volumes of sediment were shed into basins, which scattered offshore to the west, north and east of Borneo as well into a Neogene basin which is currently exposed in large areas of eastern and southern Sabah. In southeast Sabah, the Miocene to recent island arc terranes of the Sulu Archipelago extend onshore into Borneo with the older volcanic arc was the result of southeast dipping subduction while the younger volcanics are likely resulted from northwest dipping subduction the Celebes Sea.
Before sea levels rose at the end of the last ice age, Borneo was part of the mainland of Asia, forming, with Java and Sumatra, the upland regions of a peninsula that extended east from present day Indochina. The South China Sea and Gulf of Thailand now submerge the former low-lying areas of the peninsula. Deeper waters separating Borneo from neighbouring Sulawesi prevented a land connection to that island, creating the divide known as Wallace's Line between Asian and Australia-New Guinea biological regions. The island today is surrounded by the South China Sea to the north and northwest, the Sulu Sea to the northeast, the Celebes Sea and the Makassar Strait to the east, and the Java Sea and Karimata Strait to the south. To the west of Borneo are the Malay Peninsula and Sumatra. To the south and east are islands of Indonesia: Java and Sulawesi, respectively. To the northeast are the Philippine Islands. With an area of , it is the third-largest island in the world, and is the largest island of Asia (the largest continent). Its highest point is Mount Kinabalu in Sabah, Malaysia, with an elevation of .
The largest river system is the Kapuas in West Kalimantan, with a length of . Other major rivers include the Mahakam in East Kalimantan ( long), the Barito, Kahayan, and Mendawai in South Kalimantan (, , and long respectively), Rajang in Sarawak ( long) and Kinabatangan in Sabah ( long). Borneo has significant cave systems. In Sarawak, the Clearwater Cave has one of the world's longest underground rivers while Deer Cave is home to over three million bats, with guano accumulated to over deep. The Gomantong Caves in Sabah has been dubbed as the "Cockroach Cave" due to the presence of millions of cockroaches inside the cave. The Gunung Mulu National Park in Sarawak and Sangkulirang-Mangkalihat Karst in East Kalimantan which particularly a karst areas contains thousands of smaller caves. Ecology. The Borneo rainforest is estimated to be around 140 million years old, making it one of the oldest rainforests in the world. The current dominant tree group, the dipterocarps, has dominated the Borneo lowland rain forests for millions of years. It is the centre of the evolution and distribution of many endemic species of plants and animals, and the rainforest is one of the few remaining natural habitats for the endangered Bornean orangutan. It is an important refuge for many endemic forest species, including the Borneo elephant, the eastern Sumatran rhinoceros, the Bornean clouded leopard, the Bornean rock frog, the hose's palm civet and the dayak fruit bat.
Peat swamp forests occupy the entire coastline of Borneo. The soil of the peat swamp is comparatively infertile, while it is known to be the home of various bird species such as the hook-billed bulbul, helmeted hornbill and rhinoceros hornbill. There are about 15,000 species of flowering plants with 3,000 species of trees (267 species are dipterocarps), 221 species of terrestrial mammals and 420 species of resident birds in Borneo. There are about 440 freshwater fish species in Borneo (about the same as Sumatra and Java combined). The Borneo river shark is known only from the Kinabatangan River. In 2010, the World Wide Fund for Nature (WWF) stated that 123 species have been discovered in Borneo since the "Heart of Borneo" agreement was signed in 2007. The WWF has classified the island into seven distinct ecoregions. Most are lowland regions: According to analysis of data from Global Forest Watch, the Indonesian portion of Borneo lost of tree cover between 2002 and 2019, of which was primary forest, compared with Malaysian Borneo's of tree cover loss and of primary forest cover loss. As of 2020, Indonesian Borneo accounts for 72% of the island's tree cover, Malaysian Borneo 27%, and Brunei 1%. Primary forest in Indonesia accounts for 44% of Borneo's overall tree cover.
Conservation issues. The island historically had extensive rainforest cover, but the area was reduced due to heavy logging by the Indonesian and Malaysian wood industry, especially with the large demands of raw materials from industrial countries along with the conversion of forest lands for large-scale agricultural purposes. Half of the annual global tropical timber acquisition comes from Borneo. Palm oil plantations have been widely developed and are rapidly encroaching on the last remnants of primary rainforest. Forest fires since 1997, started by the locals to clear the forests for plantations were exacerbated by an exceptionally dry El Niño season, worsening the annual shrinkage of the rainforest. During these fires, hotspots were visible on satellite images and the resulting haze frequently affected Brunei, Indonesia and Malaysia. The haze could also reach southern Thailand, Cambodia, Vietnam and the Philippines as evidenced on the 2015 Southeast Asian haze. A study in 2018 found that Bornean orangutans declined by 148,500 individuals from 1999 to 2015.
Topography. List of highest peaks in Borneo by elevation: River systems. List of rivers in Borneo by length: History. Early history. In November 2018, scientists reported the discovery of the oldest known figurative art painting, over 40,000 (perhaps as old as 52,000) years old, of an unknown animal, in the cave of Lubang Jeriji Saléh on the island of Borneo. It has been proposed, based on house construction styles, linguistic and genetic evidence, that Madagascar may have been first populated from southern Borneo. According to ancient Chinese (977), Indian and Japanese manuscripts, western coastal cities of Borneo had become trading ports by the first millennium AD. In Chinese manuscripts, gold, camphor, tortoise shells, hornbill ivory, rhinoceros horn, crane crest, beeswax, lakawood (a scented heartwood and root wood of a thick liana, "Dalbergia parviflora"), dragon's blood, rattan, edible bird's nests and various spices were described as among the most valuable items from Borneo. The Indians named Borneo "Suvarnabhumi" (the land of gold) and also "Karpuradvipa" (Camphor Island). The Javanese named Borneo "Puradvipa", or Diamond Island. Archaeological findings in the Sarawak river delta reveal that the area was a thriving centre of trade between India and China from the 6th century until about 1300.
Stone pillars bearing inscriptions in the Pallava script, found in Kutai along the Mahakam River in East Kalimantan and dating to around the second half of the 4th century, constitute some of the oldest evidence of Hindu influence in Southeast Asia. By the 14th century, Borneo became a vassal state of Majapahit (in present-day Indonesia), later changing its allegiance to the Ming dynasty of China. Pre-Islamic Sulu, then known locally as Lupah Sug, stretched from Palawan and the Sulu archipelago at the Philippines; to Sabah, Eastern, and Northern Kalimantan in Borneo. The Sulu empire rose as a rebellion and reaction against former Majapahit Imperialism against Sulu which Majapahit briefly occupied. The religion of Islam entered the island in the 10th century, following the arrival of Muslim traders who later converted many indigenous peoples in the coastal areas. The Sultanate of Brunei declared independence from Majapahit following the death of the Majapahit emperor in the mid-14th century. During its golden age under Bolkiah from the 15th to the 17th century, the Bruneian sultanate ruled almost the entire coastal area of Borneo (lending its name to the island due to its influence in the region) and several islands in the Philippines. During the 1450s, Shari'ful Hashem Syed Abu Bakr, an Arab born in Johor, arrived in Sulu from Malacca. In 1457, he founded the Sultanate of Sulu; he titled himself as "Paduka Maulana Mahasari Sharif Sultan Hashem Abu Bakr". Following its independence in 1578 from Brunei's influence, Sulu began to expand its thalassocracy to parts of the northern Borneo. Both the sultanates who ruled northern Borneo had traditionally engaged in trade with China by means of the frequently-arriving Chinese junks. Despite the thalassocracy of the sultanates, Borneo's interior region remained free from the rule of any kingdoms.
British and Dutch control. After the fall of Malacca in 1511, Portuguese merchants traded regularly with Borneo, and especially with Brunei from 1530. Having visited Brunei's capital, the Portuguese described the place as surrounded by a stone wall. While Borneo was seen as rich, the Portuguese did not make any attempts to conquer it. The Spanish had sailed from Spanish America and conquered the Brunei's provinces in the Philippines and incorporated it into the Mexico-Centered Viceroyalty of New Spain. The Spanish visit to Brunei led to the Castilian War in 1578. The British began to trade with Sambas of southern Borneo in 1609, while the Dutch only began their trade in 1644: to Banjar and Martapura, also in the southern Borneo. The Dutch tried to settle the island of Balambangan, north of Borneo, in the second half of the 18th century, but withdrew by 1797. In 1812, the sultan in southern Borneo ceded his forts to the British East India Company. The British, led by Stamford Raffles, then tried to establish an intervention in Sambas but failed. Although they managed to defeat the sultanate the next year and declared a blockade on all ports in Borneo except Brunei, Banjarmasin and Pontianak, the project was cancelled by the British governor-general Lord Minto in India as it was too expensive. At the beginning of British and Dutch exploration on the island, they described the island of Borneo as full of head hunters, with the indigenous in the interior practising cannibalism, and the waters around the island infested with pirates, especially between the north eastern Borneo and the southern Philippines. The Malay and Sea Dayak pirates preyed on maritime shipping in the waters between Singapore and Hong Kong from their haven in Borneo, along with the attacks by Illanuns of the Moro pirates from the southern Philippines, such as in the Battle off Mukah.
The Dutch began to intervene in the southern part of the island upon resuming contact in 1815, posting "residents" to Banjarmasin, Pontianak and Sambas and "assistant-residents" to Landak and Mampawa. The Sultanate of Brunei in 1842 granted large parts of land in Sarawak to the British adventurer James Brooke, as a reward for his help in quelling a local rebellion. Brooke established the Raj of Sarawak and was recognised as its rajah after paying a fee to the sultanate. He established a monarchy, and the Brooke dynasty (through his nephew and great-nephew) ruled Sarawak for 100 years; the leaders were known as the White Rajahs. Brooke also acquired the island of Labuan for Great Britain in 1846 through the Treaty of Labuan with the sultan of Brunei, Omar Ali Saifuddin II on 18 December 1846. The region of northern Borneo came under the administration of North Borneo Chartered Company following the acquisition of territory from the Sultanates of Brunei and Sulu by a German businessman and adventurer named Baron von Overbeck, before it was passed to the British Dent brothers (comprising Alfred Dent and Edward Dent). Further expansion by the British continued into the Borneo interior. This led the 26th sultan of Brunei, Hashim Jalilul Alam Aqamaddin to appeal the British to halt such efforts, and as a result a Treaty of Protection was signed in 1888, rendering Brunei a British protectorate.
Before the acquisition by the British, the Americans also managed to establish their temporary presence in northwestern Borneo after acquiring a parcel of land from the Sultanate of Brunei. A company known as American Trading Company of Borneo was formed by Joseph William Torrey, Thomas Bradley Harris and several Chinese investors, establishing a colony named "Ellena" in the Kimanis area. The colony failed and was abandoned, due to denials of financial backing, especially by the US government, and to diseases and riots among the workers. Before Torrey left, he managed to sell the land to the German businessman, Overbeck. Meanwhile, the Germans under William Frederick Schuck were awarded a parcel of land in northeastern Borneo of the Sandakan Bay from the Sultanate of Sulu where he conducted business and exported large quantities of arms, opium, textiles and tobacco to Sulu before the land was also passed to Overbeck by the sultanate.
In 1895, Marcus Samuel received a concession in the Kutei area of east Borneo, and based on oil seepages in the Mahakam River delta, Mark Abrahams struck oil in February 1897. This was the discovery of the Sanga Sanga Oil Field, a refinery was built in Balikpapan, and discovery of the Samboja Oil Field followed in 1909. In 1901, the Pamusian Oil Field was discovered on Tarakan, and the Bunyu Oil Field in 1929. Royal Dutch Shell discovered the Miri Oil Field in 1910, and the Seria oil field in 1929. World War II. During World War II, Japanese forces gained control and occupied most areas of Borneo from 1941 to 1945. In the first stage of the war, the British saw the Japanese advance to Borneo as motivated by political and territorial ambitions rather than economic factors. The occupation drove many people in the coastal towns to the interior, searching for food and escaping the Japanese. The Chinese residents in Borneo, especially with the Sino-Japanese War in Mainland China mostly resisted the Japanese occupation. Following the formation of resistance movements in northern Borneo such as the Jesselton Revolt, many innocent indigenous and Chinese people were executed by the Japanese for their alleged involvement.
In Kalimantan, the Japanese also killed many Malay intellectuals, executing all the Malay sultans of West Kalimantan in the Pontianak incidents, together with Chinese people who were already against the Japanese for suspecting them to be threats. Sultan Muhammad Ibrahim Shafi ud-din II of Sambas was executed in 1944. The sultanate was thereafter suspended and replaced by a Japanese council. The Japanese also set-up "Pusat Tenaga Rakjat" (PUTERA) in the Indonesian archipelago in 1943, although it was abolished the following year when it became too nationalistic. Some of the Indonesian nationalist like Sukarno and Hatta who had returned from Dutch exile began to co-operate with the Japanese. Shortly after his release, Sukarno became president of the Central Advisory Council, an advisory council for south Borneo, Celebes, and Lesser Sunda, set up in February 1945. After the fall of Singapore, the Japanese sent several thousand of British and Australian prisoners of war to camps in Borneo such as Batu Lintang camp. From the Sandakan camp site, only six of some 2,500 prisoners survived after they were forced to march in an event known as the Sandakan Death March. In addition, of the total of 17,488 Javanese labourers brought in by the Japanese during the occupation, only 1,500 survived mainly due to starvation, harsh working conditions and maltreatment. The Dayak and other indigenous people played a role in guerrilla warfare against the occupying forces, particularly in the Kapit Division. They temporarily revived headhunting of Japanese toward the end of the war, with Allied Z Special Unit provided assistance to them. Australia contributed significantly to the liberation of Borneo. The Australian Imperial Force was sent to Borneo to fight off the Japanese. Together with other Allies, the island was completely liberated in 1945.
Recent history. In May 1945, officials in Tokyo suggested that whether northern Borneo should be included in the proposed new country of Indonesia should be separately determined based on the desires of its indigenous people and following the disposition of Malaya. Sukarno and Mohammad Yamin meanwhile continuously advocated for a Greater Indonesian republic. Towards the end of the war, Japan decided to give an early independence to a new proposed country of Indonesia on 17 July 1945, with an Independence Committee meeting scheduled for 19 August 1945. However, following the surrender of Japan to the Allied forces, the meeting was shelved. Sukarno and Hatta continued the plan by unilaterally declaring independence, although the Dutch tried to retake their colonial possession in Borneo. The southern part of the island achieved its independence through the Proclamation of Indonesian Independence on 17 August 1945. The southern part saw guerrilla conflicts followed by Dutch blockades to cut supplies for nationalist within the region. While nationalist guerrillas supporting the inclusion of southern Borneo in the new Indonesian republic were active in Ketapang, and to lesser extent in Sambas where they rallied with the red-white flag which became the flag of Indonesia, most of the Chinese residents in southern Borneo expected to be liberated by Chinese Nationalist troops from mainland China and to integrate their districts as an overseas province of China. Meanwhile, Sarawak and Sabah in northern Borneo became separate British crown colonies in 1946.
In 1961, Prime Minister Tunku Abdul Rahman of the independent Federation of Malaya desired to unite Malaya, the British colonies of Sarawak, North Borneo, Singapore and the protectorate of Brunei under the proposed Federation of Malaysia. The idea was heavily opposed by the governments in both Indonesia and the Philippines as well from communist sympathisers and nationalists in Borneo. Sukarno, as the president of the new republic, perceiving the British trying to maintain their presence in northern Borneo and the Malay Peninsula, decided to launch a military infiltration, later known as the "confrontation", from 1962 to 1969. As a response to the growing opposition, the British deployed their armed forces to guard their colonies against Indonesian and communist revolts. Australia and New Zealand also participated in these measures. The Philippines opposed the newly proposed federation, claiming the eastern part of North Borneo (today the Malaysian state of Sabah) as part of its territory as a former possession of the Sultanate of Sulu. The Philippine government mostly based their claim on the Sultanate of Sulu's cession agreement with the British North Borneo Company, as by now the sultanate had come under the jurisdiction of the Philippine republican administration, which therefore should inherit the Sulu former territories. The Philippine government also claimed that the heirs of the sultanate had ceded all their territorial rights to the republic.
The Sultanate of Brunei at first welcomed the proposal of a new larger federation. Meanwhile, the Brunei People's Party led by A.M. Azahari desired to reunify Brunei, Sarawak and North Borneo into one federation known as the North Borneo Federation (), where the sultan of Brunei would be the head of state for the federation—though Azahari had his own intention to abolish the Brunei monarchy, to make Brunei more democratic, and to integrate the territory and other former British colonies in Borneo into Indonesia, with the support from the latter government. This directly led to the Brunei Revolt, which thwarted Azahari's attempt and forced him to escape to Indonesia. Brunei withdrew from being part of the new Federation of Malaysia due to some disagreements on other issues while political leaders in Sarawak and North Borneo continued to favour inclusion in a larger federation. With the continuous opposition from Indonesia and the Philippines, the Cobbold Commission was established to discover the feeling of the native populations in northern Borneo; it found the people greatly in favour of federation, with various stipulations. The federation was successfully achieved with the inclusion of northern Borneo through the Malaysia Agreement on 16 September 1963. To this day, the area in northern Borneo is still subjected to attacks by Moro pirates since the 18th century and militant from groups such as Abu Sayyaf since 2000 in the frequent cross border attacks. During the administration of Philippine president Ferdinand Marcos, Marcos made some attempts to destabilise the state of Sabah, although his plan failed and resulted in the Jabidah massacre and later the insurgency in the southern Philippines.
In August 2019, Indonesian president Joko Widodo announced a plan to move the capital of Indonesia from Jakarta to a newly established location in the East Kalimantan province in Borneo. Demographics. The demonym for Borneo is Bornean. Borneo had 23,053,723 inhabitants (in 2020 Censuses), a population density of . Most of the population lives in coastal cities, although the hinterland has small towns and villages along the rivers. Territories by population, size, and timezone. <br> Urbanisation by region. Data based on the projection in the former territories in East Kalimantan Province (prior to the separation of North Kalimantan in 2012) Major ethnicities by region. Based on alphabetical order Administration. The island of Borneo is divided administratively by three countries. Economy. Borneo's economy depends mainly on agriculture, logging and mining, oil and gas, and ecotourism. Brunei's economy is highly dependent on the oil and gas production sector, and the country has become one of the largest oil producers in Southeast Asia. The Malaysian states of Sabah and Sarawak are both top exporters of timber. Sabah is also known as the agricultural producer of rubber, cacao, and vegetables, and for its fisheries, while Sabah, Sarawak and Labuan export liquefied natural gas (LNG) and petroleum. The Indonesian provinces of Kalimantan are mostly dependent on mining sectors despite also being involved in logging and oil and gas explorations. Human Development Index by territory. HDI is a statistic of combined indicators that takes into account life expectancy, health, education and per-capita income.
Ballpoint pen A ballpoint pen, also known as a biro (British English), ball pen (Hong Kong, Indian, Indonesian, Pakistani, and Philippine English), or dot pen (Nepali English and South Asian English), is a pen that dispenses ink (usually in paste form) over a metal ball at its point, i.e., over a "ball point". The metals commonly used are steel, brass, or tungsten carbide. The design was conceived and developed as a cleaner and more reliable alternative to dip pens and fountain pens, and it is now the world's most-used writing instrument; millions are manufactured and sold daily. It has influenced art and graphic design and spawned an artwork genre. History. Origins. The concept of using a "ball point" within a writing instrument to apply ink to paper has existed since the late 19th century. In these inventions, the ink was placed in a thin tube whose end was blocked by a tiny ball, held so that it could not slip into the tube or fall out of the pen. The first patent for a ballpoint pen was issued on 30 October 1888 to John J. Loud, who was attempting to make a writing instrument that would be able to write "on rough surfaces—such as wood, coarse wrapping paper, and other articles" which fountain pens could not. Loud's pen had a small rotating steel ball held in place by a socket. Although it could be used to mark rough surfaces such as leather, as Loud intended, it proved too coarse for letter-writing. With no commercial viability, its potential went unexploited, and the patent eventually lapsed.
The manufacture of economical, reliable ballpoint pens as are known today arose from experimentation, modern chemistry, and the precision manufacturing capabilities of the early 20th century. Patents filed worldwide during early development are testaments to failed attempts at making the pens commercially viable and widely available. Early ballpoints did not deliver the ink evenly; overflow and clogging were among the obstacles faced by early inventors. If the ball socket were too tight or the ink too thick, it would not reach the paper. If the socket were too loose or the ink too thin, the pen would leak, or the ink would smear. Ink reservoirs pressurized by a piston, spring, capillary action, and gravity would all serve as solutions to ink-delivery and flow problems. László Bíró, a Hungarian newspaper editor (later a naturalized Argentine) frustrated by the amount of time that he wasted filling up fountain pens and cleaning up smudged pages, noticed that inks used in newspaper printing dried quickly, leaving the paper dry and smudge-free. He decided to create a pen using the same type of ink. Bíró enlisted the help of his brother György, a dentist with useful knowledge of chemistry, to develop viscous ink formulae for new ballpoint designs.
Bíró's innovation successfully coupled viscous ink with a ball-and-socket mechanism that allowed controlled flow while preventing ink from drying inside the reservoir. Bíró filed for a British patent on 15 June 1938. In 1941, the Bíró brothers and a friend, Juan Jorge Meyne, fled Germany and moved to Argentina, where they formed "Bíró Pens of Argentina" and filed a new patent in 1943. Their pen was sold in Argentina as the "Birome", from the names Bíró and Meyne, which is how ballpoint pens are still known in that country. This new design was licensed by the British engineer Frederick George Miles and manufactured by his company Miles Aircraft, to be used by Royal Air Force aircrew as the "Biro". Ballpoint pens were found to be more versatile than fountain pens, especially in airplanes, where fountain pens were prone to leak. Bíró's patent, and other early patents on ballpoint pens, often used the term "ball-point fountain pen". Postwar proliferation. Following World War II, many companies vied to commercially produce their own ballpoint pen design. In pre-war Argentina, success of the Birome ballpoint was limited, but in mid-1945, the Eversharp Co., a maker of mechanical pencils, teamed up with Eberhard Faber Co. to license the rights from Birome for sales in the United States.
In 1946, a Spanish firm, Vila Sivill Hermanos, began to make a ballpoint, Regia Continua, and from 1953 to 1957 their factory also made Bic ballpoints, on contract with the French firm Société Bic. During the same period, American entrepreneur Milton Reynolds came across a Birome ballpoint pen during a business trip to Buenos Aires, Argentina. Recognizing commercial potential, he purchased several ballpoint samples, returned to the United States, and founded the Reynolds International Pen Company. Reynolds bypassed the Birome patent with sufficient design alterations to obtain an American patent, beating Eversharp and other competitors to introduce the pen to the US market. Debuting at Gimbels department store in New York City on 29 October 1945, for US$12.50 each (1945 US dollar value, about $ in dollars), "Reynolds Rocket" became the first commercially successful ballpoint pen. Reynolds went to great extremes to market the pen, with great success; Gimbel's sold many thousands of pens within one week. In Britain, the Miles-(Harry) Martin pen company was producing the first commercially successful ballpoint pens there by the end of 1945.
Neither Reynolds' nor Eversharp's ballpoint lived up to consumer expectations in America. Ballpoint pen sales peaked in 1946, and consumer interest subsequently plunged due to market saturation, going from luxury good to fungible consumable. By the early 1950s the ballpoint boom had subsided and Reynolds' company folded. Paper Mate pens, among the emerging ballpoint brands of the 1950s, bought the rights to distribute their own ballpoint pens in Canada. Facing concerns about ink-reliability, Paper Mate pioneered new ink formulas and advertised them as "banker-approved". In 1954, Parker Pens released "The Jotter"—the company's first ballpoint—boasting additional features and technological advances which also included the use of tungsten-carbide textured ball-bearings in their pens. In less than a year, Parker sold several million pens at prices between three and nine dollars. In the 1960s, the failing Eversharp Co. sold its pen division to Parker and ultimately folded. Marcel Bich also introduced a ballpoint pen to the American marketplace in the 1950s, licensed from Bíró and based on the Argentine designs. Bich shortened his name to Bic in 1953, forming the ballpoint brand Bic now recognized globally. Bic pens struggled until the company launched its "Writes First Time, Every Time!" advertising campaign in the 1960s. Competition during this era forced unit prices to drop considerably.
In 2002, the Pakistani company Shaheen Group entered the pen market with the subsidiary Shaheen Ballpoints, as in Pakistan the ballpoint pen had a big demand but it's quality was low. Shaheen had to compete with foreign companies that were in Pakistan for decades, such as Sayyed Engineers, Dollar Industries, Shahsons and Indus Pencils. The wholesale market bought their stocks in advance, but after six months the company had to pull their stocks due technical and marketing issues. Production in China. Many industrial sites specialized in pen production were created in China. One important production site is the Fenshui Township. Their ballpoint pen production started in 1974, when the Hangzhou Ballpoint Pen Factory inciated it's production using bamboo. The Wengang Township has a long tradition of brush pen production, but all kinds of pens are produced, including ballpoint pens. In 2002, China's Pen Capital was constructed in Wenzhou, with an investment of ¥ 600 million. AIHAO was one of the first companies to move to the industrial site. Their most famous product is the ball-point pen.
In the 2000s, China ballpoint pen production skyrocketed. In 2017, China produced 38 billion ballpoint pens per year, 80% of the global market. But the country had a problem in doing precision engineering, including the ballpoint pen tip, that had to be imported from Germany, Switzerland and Japan for the cost of ¥ 120 million a year. The subject was criticized by western media. "Forbes" argued that the lack of IP protections were the cause of it, as the country wouldn't attract investments in innovation. "Financial Times" argued that because of Chinese self-sufficiency policy, companies handled the entire supply chain by themselves, thus creating inefficiency. "Hong Kong Economic Journal" declared that "the day China can produce a 100% homemade ball pen will be the day it truly qualifies as a first-class industrial power". Since 2011, the Ministry of Science and Technology invested $8.7 million in the production of the tips. Beifa Group worked with Taiyuan Iron & Steel Group (TISCO) with no success. In 2016, the Chinese Premier Li Keqiang complained on national television about the quality of Chinese pens. In June 2016, TISCO produced the first national ballpoint pen. In November, TISCO's industry standard was approved by the China Metallurgical Standardization Research Institute and on 10 January 2017 the pens were officially announced. The achievement reached the front-page news, was discussed in talk shows and celebrated on social media.
Inks. Ballpoint pen ink is normally a paste containing around 25 to 40 percent dye. The dyes are suspended in a mixture of solvents and fatty acids. The most common of the solvents are benzyl alcohol or phenoxyethanol, which mix with the dyes and oils to create a smooth paste that dries quickly. This type of ink is also called "oil-based ink". The fatty acids help to lubricate the ball tip while writing. Hybrid inks also contain added lubricants in the ink to provide a smoother writing experience. The drying time of the ink varies depending upon the viscosity of the ink and the diameter of the ball. In general, the more viscous the ink, the faster it will dry, but more writing pressure needs to be applied to dispense ink. But although they are less viscous, hybrid inks have a faster drying time compared to normal ballpoint inks. Also, a larger ball dispenses more ink and thus increases drying time. The dyes used in blue and black ballpoint pens are basic dyes based on triarylmethane and acid dyes derived from diazo compounds or phthalocyanine. Common dyes in blue (and black) ink are Prussian blue, Victoria blue, methyl violet, crystal violet, and phthalocyanine blue. The dye eosin is commonly used for red ink.
The inks are resistant to water after drying but can be defaced by certain solvents which include acetone and various alcohols. Types of ballpoint pens. Ballpoint pens are produced in both disposable and refillable models. Refills allow for the entire internal ink reservoir, including a ballpoint and socket, to be replaced. Such characteristics are usually associated with designer-type pens or those constructed of finer materials. The simplest types of ballpoint pens are disposable and have a cap to cover the tip when the pen is not in use, or a mechanism for retracting the tip, which varies between manufacturers but is usually a spring- or screw-mechanism. Rollerball pens employ the same ballpoint mechanics, but with the use of water-based inks instead of oil-based inks. Compared to oil-based ballpoints, rollerball pens are said to provide more fluid ink-flow, but the water-based inks will blot if held stationary against the writing surface. Water-based inks also remain wet longer when freshly applied and are thus prone to "smearing"—posing problems to left-handed people (or right handed people writing right-to-left script)—and "running", should the writing surface become wet.
Some ballpoint pens use a hybrid ink formulation whose viscosity is lower than that of standard ballpoint ink, but greater than rollerball ink. The ink dries faster than a gel pen to prevent smearing when writing. These pens are better suited for left-handed persons. Examples are the Zebra Surari, Uni-ball Jetstream and Pilot Acroball ranges. These pens are also labelled "extra smooth", as they offer a smoother writing experience compared to normal ballpoint pens. Ballpoint pens with erasable ink were pioneered by the Paper Mate pen company. The ink formulas of erasable ballpoints have properties similar to rubber cement, allowing the ink to be literally rubbed clean from the writing surface before drying and eventually becoming permanent. Erasable ink is much thicker than standard ballpoint inks, requiring pressurized cartridges to facilitate inkflow—meaning they can also write upside-down. Though these pens are equipped with erasers, any eraser will suffice. Ballpoint tips are fitted with balls whose diameter can vary from 0.28 mm to 1.6 mm. The ball diameter does not correspond to the width of the line produced by the pen. The line width depends on various factors like the type of ink and pressure applied. Some standard ball diameters are: 0.3 mm, 0.38 mm, 0.4 mm, 0.5 mm, 0.7 mm (fine), 0.8 mm, 1.0 mm (medium), 1.2 mm and 1.4 mm (broad). Pens with ball diameters as small as 0.18 mm have been made by Japanese companies, but are extremely rare.
The inexpensive, disposable Bic Cristal (also simply "Bic pen" or "Biro") is reportedly the most widely sold pen in the world. It was the Bic company's first product and is still synonymous with the company name. The Bic Cristal is part of the permanent collection at the Museum of Modern Art in New York City, acknowledged for its industrial design. Its hexagonal barrel mimics that of a wooden pencil and is transparent, showing the ink level in the reservoir. Originally a sealed streamlined cap, the modern pen cap has a small hole at the top to meet safety standards, helping to prevent suffocation if children suck it into the throat. Multi-pens are pens that feature multiple varying colored pen refills. Sometimes ballpoint refills are combined with another non-ballpoint refill, usually a mechanical pencil. Sometimes ballpoint pens combine a ballpoint tip on one end and touchscreen stylus on the other. Ballpoint pens are sometimes provided free by businesses, such as hotels and banks, printed with a company's name and logo. Ballpoints have also been produced to commemorate events, such as a pen commemorating the 1963 assassination of President John F. Kennedy. These pens, known as "advertising pens," are the same as standard ballpoint pen models, but have become valued among collectors.
Sometimes ballpoint pens are also produced as design objects. With cases made of metal or wood, they become individually styled utility objects. Use of ballpoint pens in space. It is generally believed that gravity is needed to coat the ball with ink. In fact most ballpoint pens on the Earth do not work when writing upside-down because the Earth's gravity pulls the ink inside the pen away from the tip of the pen. However, in the microgravity environment of space a regular ballpoint pen can still work, pointed in any direction, because the capillary forces in the ink are stronger than non present gravitational forces. The functionality of a regular ballpoint pen in space was confirmed by ESA astronaut Pedro Duque in 2003. Technology developed by Fisher pens in the United States resulted in the production of what came to be known as the "Fisher Space Pen". Space Pens combine a more viscous ink with a pressurized ink reservoir that forces the ink toward the point. Unlike a standard ballpoint's ink container, the rear end of a Space Pen's pressurized reservoir is sealed, eliminating evaporation and leakage, thus allowing the pen to write upside-down, in zero-gravity environments, and allegedly underwater. Astronauts have made use of these pens in outer space.
As an art medium. The ballpoint pen has proven to be a versatile art medium for both professional artists and amateur doodlers. Low cost, availability, and portability are cited by practitioners as qualities which make this common writing tool a convenient art supply. Some artists use them within mixed-media works, while others use them solely as their medium-of-choice. Effects not generally associated with ballpoint pens can be achieved. Traditional pen-and-ink techniques such as stippling and cross-hatching can be used to create half-tones or the illusion of form and volume. For artists whose interests necessitate precision line-work, ballpoints are an obvious attraction; ballpoint pens allow for sharp lines not as effectively executed using a brush. Finely applied, the resulting imagery has been mistaken for airbrushed artwork and photography, causing reactions of disbelief which ballpoint artist Lennie Mace refers to as the "Wow Factor". Famous 20th-century artists including Andy Warhol, have utilized the ballpoint pen during their careers. Ballpoint pen artwork continues to attract interest in the 21st century, with many contemporary artists gaining recognition for their specific use of ballpoint pens as a medium. Korean-American artist Il Lee has been creating large-scale, abstract artwork since the late 1970s solely with ballpoint pens. Since the 1980s, Lennie Mace creates imaginative, ballpoint-only artwork of varying content and complexity, applied to unconventional surfaces including wood and denim. The artist coined terms such as "PENtings" and "Media Graffiti" to describe his varied output. British artist James Mylne has been creating photo-realistic artwork using mostly black ballpoints, sometimes with minimal mixed-media color.
The ballpoint pen has several limitations as an art medium. Color availability and sensitivity of ink to light are among concerns of ballpoint pen artists. As a tool that uses ink, marks made with a ballpoint pen can generally not be erased. Additionally, "blobbing" ink on the drawing surface and "skipping" ink-flow require consideration when drawing with a ballpoint pen. Although the mechanics of ballpoint pens remain relatively unchanged, ink composition has evolved to solve certain problems over the years, resulting in unpredictable sensitivity to light and some extent of fading. Manufacturing. The common ballpoint pen is a product of mass production, with components produced separately on assembly lines. Basic steps in the manufacturing process include the production of ink formulas, molding of metal and plastic components, and assembly. Marcel Bich (leading to Société Bic) was involved in developing the production of inexpensive ballpoint pens. Although designs and construction vary between brands, basic components of all ballpoint pens are universal. The making of a ballpoint pen, specially the tip, is considered a work of precision engineering. Standard components of a ballpoint tip include the freely rotating "ball" itself (distributing the ink on the writing surface), a "socket" holding the ball in place, small "ink channels" that provide ink to the ball through the socket, and a self-contained "ink reservoir" supplying ink to the ball. In modern disposable pens, narrow plastic tubes contain the ink, which is compelled downward to the ball by gravity. Brass, steel, or tungsten carbide are used to manufacture the ball bearing-like points, then housed in a brass socket.
The function of these components can be observed at a larger scale in the ball-applicator of roll-on antiperspirant. The ballpoint tip delivers the ink to the writing surface while acting as a "buffer" between the ink in the reservoir and the air outside, preventing the quick-drying ink from drying inside the reservoir. Modern ballpoints are said to have a two-year shelf life, on average. A ballpoint tip that can write comfortably for a long period of time is not easy to produce, as it requires high-precision machinery and thin high-grade steel alloy plates. China, which produces about 80 percent of the world's ballpoint pens, relied on imported ballpoint tips and metal alloys before 2017. Standards. The International Organization for Standardization has published standards for ball point and roller ball pens:
Burroughs Corporation The Burroughs Corporation was a major American manufacturer of business equipment. The company was founded in 1886 as the American Arithmometer Company by William Seward Burroughs. The company's history paralleled many of the major developments in computing. At its start, it produced mechanical adding machines, and later moved into programmable ledgers and then computers. It was one of the largest producers of mainframe computers in the world, also producing related equipment including typewriters and printers. In the 1960s, the company introduced a range of mainframe computers that were well regarded for their performance running high level languages. These formed the core of the company's business into the 1970s. At that time the emergence of superminicomputers and the dominance of the IBM System/360 and 370 at the high end led to shrinking markets, and in 1986 the company purchased former competitor Sperry UNIVAC and merged their operations to form Unisys. Early history. In 1886, the American Arithmometer Company was established in St. Louis, Missouri, to produce and sell an adding machine invented by William Seward Burroughs (grandfather of Beat Generation author William S. Burroughs). In 1904, six years after Burroughs' death, the company moved to Detroit and changed its name to the Burroughs Adding Machine Company. It was soon the biggest adding machine company in America.
Evolving product lines. The adding machine range began with the basic, hand-cranked Class 1 which was only capable of adding. The design included some revolutionary features, foremost of which was the dashpot which governed the speed at which the operating lever could be pulled so allowing the mechanism to operate consistently correctly. The machine also had a full-keyboard with a separate column of keys 1 to 9 for each decade where the keys latch when pressed, with interlocking which prevented more than one key in any decade from being latched. The latching allowed the operator to quickly check that the correct number had been entered before pulling the operating lever. The numbers entered and the final total were printed on a roll of paper at the rear, so there was no danger of the operator writing down the wrong answer and there was a copy of the calculation which could be checked later if necessary. The Class 2 machine, called the "duplex" and built in the same basic style, provided a means of keeping two separate totals. The Class 6 machine was built for bookkeeping work and provided the ability for direct subtraction.
Burroughs released the Class 3 and Class 4 adding machines which were built after the purchase of the Pike Adding Machine Company around 1910. These machines provided a significant improvement over the older models because operators could view the printing on the paper tape. The machines were called "the visible" for this improvement. In 1925 Burroughs released a much smaller machine called "the portable". Two models were released, the Class 8 (without subtraction) and the Class 9 with subtraction capability. Later models continued to be released with the P600 and top-of-the-range P612 offered some limited programmability based upon the position of the movable carriage. The range was further extended by the inclusion of the Series J ten-key machines which provided a single finger calculation facility, and the Class 5 (later called Series C) key-driven calculators in both manual and electrical assisted comptometers. In the late 1960s, the Burroughs sponsored "nixi-tube" provided an electronic display calculator. Burroughs developed a range of adding machines with different capabilities, gradually increasing in their capabilities. A revolutionary adding machine was the "Sensimatic", which was able to perform many business functions semi-automatically. It had a moving programmable carriage to maintain ledgers. It could store 9, 18 or 27 balances during the ledger posting operations and worked with a mechanical adder named a Crossfooter. The Sensimatic developed into the "Sensitronic" which could store balances on a magnetic stripe which was part of the ledger card. This balance was read into the accumulator when the card was inserted into the carriage. The Sensitronic was followed by the E1000, E2000, E3000, E4000, E6000 and the E8000, which were computer systems supporting card reader/punches and a line printer.
Later, Burroughs was selling more than adding machines, including typewriters. Move into computers. The biggest shift in company history came in 1953: the Burroughs Adding Machine Company was renamed the Burroughs Corporation and began moving into digital computer products, initially for banking institutions. This move began with Burroughs' purchase in June 1956, of the ElectroData Corporation in Pasadena, California, a spinoff of the Consolidated Engineering Corporation which had designed test instruments and had a cooperative relationship with Caltech in Pasadena. ElectroData had built the Datatron 205 and was working on the Datatron 220. The first major computer product that came from this marriage was the B205 tube computer. In 1968 the L and TC series range was produced (e.g. the TC500—Terminal Computer 500) which had a golf ball printer and in the beginning a 1K (64 bit) disk memory. These were popular as branch terminals to the B5500/6500/6700 systems, and sold well in the banking sector, where they were often connected to non-Burroughs mainframes. In conjunction with these products, Burroughs also manufactured an extensive range of cheque processing equipment, normally attached as terminals to a medium systems such as B200/B300 and larger systems such as a B2700 or B1700.
In the 1950s, Burroughs worked with the Federal Reserve Bank on the development and computer processing of magnetic ink character recognition (MICR) especially for the processing of bank cheques. Burroughs made special MICR/OCR sorter/readers which attached to their medium systems line of computers (2700/3700/4700) and B200/B300 systems and this entrenched the company in the computer side of the banking industry. A force in the computing industry. Burroughs was one of the nine major United States computer companies in the 1960s, with IBM the largest, Honeywell, NCR Corporation, Control Data Corporation (CDC), General Electric (GE), Digital Equipment Corporation (DEC), RCA and Sperry Rand (UNIVAC line). In terms of sales, Burroughs was always a distant second to IBM. In fact, IBM's market share was so much larger than all of the others that this group was often referred to as "IBM and the Seven Dwarves." By 1972 when GE and RCA were no longer in the mainframe business, the remaining five companies behind IBM became known as the BUNCH, an acronym based on their initials.
At the same time, Burroughs was very much a competitor. Like IBM, Burroughs tried to supply a complete line of products for its customers, including Burroughs-designed printers, disk drives, tape drives, computer printing paper and typewriter ribbons. Developments and innovations. The Burroughs Corporation developed three highly innovative architectures, based on the design philosophy of "language-directed design". Their machine instruction sets favored one or many high level programming languages, such as ALGOL, COBOL or FORTRAN. All three architectures were considered mainframe class machines: Many computer scientists consider these series of computers to be technologically groundbreaking. Stack oriented processors, with 48 bit word length where each word was defined as data or program contributed significantly to a secure operating environment, long before spyware and viruses affected computing. The modularity of these large systems was unique: multiple CPUs, multiple memory modules and multiple I/O and Data Comm processors permitted incremental and cost effective growth of system performance and reliability.
In industries like banking, where continuous operations was mandatory, Burroughs Large Systems penetrated nearly every large bank, including the Federal Reserve Bank. Burroughs built the backbone switching systems for Society for Worldwide Interbank Financial Telecommunication (SWIFT) which sent its first message in 1977. Unisys is still the provider to SWIFT today. Merger with Sperry. In September 1986, Burroughs Corporation merged with Sperry Corporation to form Unisys. For a time, the combined company retained the Burroughs processors as the A- and V-systems lines. As the market for large systems shifted from proprietary architectures to common servers, the company eventually dropped the V-Series line, although customers continued to use V-series systems . Unisys continues to develop and market the A-Series, now known as ClearPath. Burroughs Payment Systems. In 2010, Unisys sold off its Payment Systems Division to Marlin Equity Partners, a California-based private investment firm, which incorporated it as Burroughs Payment Systems, Inc. (later just Burroughs, Inc.), based in Plymouth, Michigan.
References in popular culture. Burroughs B205 hardware has appeared as props in many Hollywood television and film productions from the late 1950s. For example, a B205 console was often shown in the television series "Batman" as the "Bat Computer"; also as the flight computer in "Lost in Space". B205 tape drives were often seen in series such as "The Time Tunnel" and "Voyage to the Bottom of the Sea". Burroughs equipment was also featured in the movie "The Angry Red Planet".
Brick A brick is a type of construction material used to build walls, pavements and other elements in masonry construction. Properly, the term "brick" denotes a unit primarily composed of clay, but is now also used informally to denote units made of other materials or other chemically cured construction blocks. Bricks can be joined using mortar, adhesives or by interlocking. Bricks are usually produced at brickworks in numerous classes, types, materials, and sizes which vary with region, and are produced in bulk quantities. "Block" is a similar term referring to a rectangular building unit composed of clay or concrete, but is usually larger than a brick. Lightweight bricks (also called lightweight blocks) are made from expanded clay aggregate. Fired bricks are one of the longest-lasting and strongest building materials, sometimes referred to as artificial stone, and have been used since . Air-dried bricks, also known as mudbricks, have a history older than fired bricks, and have an additional ingredient of a mechanical binder such as straw.
Bricks are laid in "courses" and numerous patterns known as "bonds", collectively known as brickwork, and may be laid in various kinds of mortar to hold the bricks together to make a durable structure. History. Middle East and South Asia. The earliest bricks were dried mudbricks, meaning that they were formed from clay-bearing earth or mud and dried (usually in the sun) until they were strong enough for use. The oldest discovered bricks, originally made from shaped mud and dating before 7500 BC, were found at Tell Aswad, in the upper Tigris region and in southeast Anatolia close to Diyarbakir. Mudbrick construction was used at Çatalhöyük, from c. 7,400 BC. Mudbrick structures, dating to c. 7,200 BC have been located in Jericho, Jordan Valley. These structures were made up of the first bricks with dimension 400x150x100 mm. Between 5000 and 4500 BC, Mesopotamia had discovered fired brick. The standard brick sizes in Mesopotamia followed a general rule: the width of the dried or burned brick would be twice its thickness, and its length would be double its width.
The South Asian inhabitants of Mehrgarh also constructed air-dried mudbrick structures between 7000 and 3300 BC and later the ancient Indus Valley cities of Mohenjo-daro, Harappa, and Mehrgarh. Ceramic, or "fired brick" was used as early as 3000 BC in early Indus Valley cities like Kalibangan. In the middle of the third millennium BC, there was a rise in monumental baked brick architecture in Indus cities. Examples included the Great Bath at Mohenjo-daro, the fire altars of Kaalibangan, and the granary of Harappa. There was a uniformity to the brick sizes throughout the Indus Valley region, conforming to the 1:2:4, thickness, width, and length ratio. As the Indus civilization began its decline at the start of the second millennium BC, Harappans migrated east, spreading their knowledge of brickmaking technology. This led to the rise of cities like Pataliputra, Kausambi, and Ujjain, where there was an enormous demand for kiln-made bricks. By 604 BC, bricks were the construction materials for architectural wonders such as the Hanging Gardens of Babylon, where glazed fired bricks were put into practice.
China. The earliest fired bricks appeared in Neolithic China around 4400 BC at Chengtoushan, a walled settlement of the Daxi culture. These bricks were made of red clay, fired on all sides to above 600 °C, and used as flooring for houses. By the Qujialing period (3300 BC), fired bricks were being used to pave roads and as building foundations at Chengtoushan. According to Lukas Nickel, the use of ceramic pieces for protecting and decorating floors and walls dates back at various cultural sites to 3000-2000 BC and perhaps even before, but these elements should be rather qualified as tiles. For the longest time builders relied on wood, mud and rammed earth, while fired brick and mudbrick played no structural role in architecture. Proper brick construction, for erecting walls and vaults, finally emerges in the third century BC, when baked bricks of regular shape began to be employed for vaulting underground tombs. Hollow brick tomb chambers rose in popularity as builders were forced to adapt due to a lack of readily available wood or stone. The oldest extant brick building above ground is possibly Songyue Pagoda, dated to 523 AD.
By the end of the third century BC in China, both hollow and small bricks were available for use in building walls and ceilings. Fired bricks were first mass-produced during the construction of the tomb of China's first Emperor, Qin Shi Huangdi. The floors of the three pits of the Terracotta Army were paved with an estimated 230,000 bricks, with the majority measuring 28x14x7 cm, following a 4:2:1 ratio. The use of fired bricks in Chinese city walls first appeared in the Eastern Han dynasty (25 AD-220 AD). Up until the Middle Ages, buildings in Central Asia were typically built with unbaked bricks. It was only starting in the ninth century CE when buildings were entirely constructed using fired bricks. The carpenter's manual "Yingzao Fashi", published in 1103 at the time of the Song dynasty described the brick making process and glazing techniques then in use. Using the 17th-century encyclopaedic text "Tiangong Kaiwu", historian Timothy Brook outlined the brick production process of Ming dynasty China: Europe.
Early civilisations around the Mediterranean, including the Ancient Greeks and Romans, adopted the use of fired bricks. By the early first century CE, standardised fired bricks were being heavily produced in Rome. The Roman legions operated mobile kilns, and built large brick structures throughout the Roman Empire, stamping the bricks with the seal of the legion. The Romans used brick for walls, arches, forts, aqueducts, etc. Notable mentions of Roman brick structures are the Herculaneum gate of Pompeii and the baths of Caracalla. During the Early Middle Ages the use of bricks in construction became popular in Northern Europe, after being introduced there from Northwestern Italy. An independent style of brick architecture, known as brick Gothic (similar to Gothic architecture) flourished in places that lacked indigenous sources of rocks. Examples of this architectural style can be found in modern-day Denmark, Germany, Poland, and Kaliningrad (former East Prussia). This style evolved into the Brick Renaissance as the stylistic changes associated with the Italian Renaissance spread to northern Europe, leading to the adoption of Renaissance elements into brick building. Identifiable attributes included a low-pitched hipped or flat roof, symmetrical facade, round arch entrances and windows, columns and pilasters, and more.
A clear distinction between the two styles only developed at the transition to Baroque architecture. In Lübeck, for example, Brick Renaissance is clearly recognisable in buildings equipped with terracotta reliefs by the artist Statius von Düren, who was also active at Schwerin (Schwerin Castle) and Wismar (Fürstenhof). Long-distance bulk transport of bricks and other construction equipment remained prohibitively expensive until the development of modern transportation infrastructure, with the construction of canal, roads, and railways. Industrial era. Production of bricks increased massively with the onset of the Industrial Revolution and the rise in factory building in England. For reasons of speed and economy, bricks were increasingly preferred as building material to stone, even in areas where the stone was readily available. It was at this time in London that bright red brick was chosen for construction to make the buildings more visible in the heavy fog and to help prevent traffic accidents. The transition from the traditional method of production known as hand-moulding to a mechanised form of mass-production slowly took place during the first half of the nineteenth century. The first brick-making machine was patented by Richard A. Ver Valen of Haverstraw, New York, in 1852. The Bradley & Craven Ltd 'Stiff-Plastic Brickmaking Machine' was patented in 1853. Bradley & Craven went on to be a dominant manufacturer of brickmaking machinery. Henry Clayton, employed at the Atlas Works in Middlesex, England, in 1855, patented a brick-making machine that was capable of producing up to 25,000 bricks daily with minimal supervision. His mechanical apparatus soon achieved widespread attention after it was adopted for use by the South Eastern Railway Company for brick-making at their factory near Folkestone.
At the end of the 19th century, the Hudson River region of New York State would become the world's largest brick manufacturing region, with 130 brickyards lining the shores of the Hudson River from Mechanicsville to Haverstraw and employing 8,000 people. At its peak, about 1 billion bricks were produced a year, with many being sent to New York City for use in its construction industry. The demand for high office building construction at the turn of the 20th century led to a much greater use of cast and wrought iron, and later, steel and concrete. The use of brick for skyscraper construction severely limited the size of the building – the Monadnock Building, built in 1896 in Chicago, required exceptionally thick walls to maintain the structural integrity of its 17 storeys. Following pioneering work in the 1950s at the Swiss Federal Institute of Technology and the Building Research Establishment in Watford, UK, the use of improved masonry for the construction of tall structures up to 18 storeys high was made viable. However, the use of brick has largely remained restricted to small to medium-sized buildings, as steel and concrete remain superior materials for high-rise construction.
Methods of manufacture. Four basic types of brick are un-fired, fired, chemically set bricks, and compressed earth blocks. Each type is manufactured differently for various purposes. Mudbrick. Unfired bricks, also known as mudbrick, are made from a mixture of silt, clay, sand and other earth materials like gravel and stone, combined with tempers and binding agents such as chopped straw, grasses, tree bark, or dung. Since these bricks are made up of natural materials and only require heat from the Sun to bake, mudbricks have a relatively low embodied energy and carbon footprint. The ingredients are first harvested and added together, with clay content ranging from 30% to 70%. The mixture is broken up with hoes or adzes, and stirred with water to form a homogenous blend. Next, the tempers and binding agents are added in a ratio, roughly one part straw to five parts earth to reduce weight and reinforce the brick by helping reduce shrinkage. However, additional clay could be added to reduce the need for straw, which would prevent the likelihood of insects deteriorating the organic material of the bricks, subsequently weakening the structure. These ingredients are thoroughly mixed together by hand or by treading and are then left to ferment for about a day.
The mix is then kneaded with water and molded into rectangular prisms of a desired size. Bricks are lined up and left to dry in the sun for three days on both sides. After the six days, the bricks continue drying until required for use. Typically, longer drying times are preferred, but the average is eight to nine days spanning from initial stages to its application in structures. Unfired bricks could be made in the spring months and left to dry over the summer for use in the autumn. Mudbricks are commonly employed in arid environments to allow for adequate air drying. Fired brick. Fired bricks are baked in a kiln which makes them durable. Modern, fired, clay bricks are formed in one of three processes – soft mud, dry press, or extruded. Depending on the country, either the extruded or soft mud method is the most common, since they are the most economical. Clay and shale are the raw ingredients in the recipe for a fired brick. They are the product of thousands of years of decomposition and erosion of rocks, such as pegmatite and granite, leading to a material that has properties of being highly chemically stable and inert. Within the clays and shales are the materials of aluminosilicate (pure clay), free silica (quartz), and decomposed rock.
One proposed optimal mix is: Shaping methods. Three main methods are used for shaping the raw materials into bricks to be fired: Kilns. In many modern brickworks, bricks are usually fired in a continuously fired tunnel kiln, in which the bricks are fired as they move slowly through the kiln on conveyors, rails, or kiln cars, which achieves a more consistent brick product. The bricks often have lime, ash, and organic matter added, which accelerates the burning process. The other major kiln type is the Bull's Trench Kiln (BTK), based on a design developed by British engineer W. Bull in the late 19th century. An oval or circular trench is dug, wide, deep, and in circumference. A tall exhaust chimney is constructed in the centre. Half or more of the trench is filled with "green" (unfired) bricks which are stacked in an open lattice pattern to allow airflow. The lattice is capped with a roofing layer of finished brick. In operation, new green bricks, along with roofing bricks, are stacked at one end of the brick pile. Historically, a stack of unfired bricks covered for protection from the weather was called a "hack". Cooled finished bricks are removed from the other end for transport to their destinations. In the middle, the brick workers create a firing zone by dropping fuel (coal, wood, oil, debris, etc.) through access holes in the roof above the trench. The constant source of fuel maybe grown on the woodlots.
The advantage of the BTK design is a much greater energy efficiency compared with clamp or scove kilns. Sheet metal or boards are used to route the airflow through the brick lattice so that fresh air flows first through the recently burned bricks, heating the air, then through the active burning zone. The air continues through the green brick zone (pre-heating and drying the bricks), and finally out the chimney, where the rising gases create suction that pulls air through the system. The reuse of heated air yields savings in fuel cost. As with the rail process, the BTK process is continuous. A half-dozen labourers working around the clock can fire approximately 15,000–25,000 bricks a day. Unlike the rail process, in the BTK process the bricks do not move. Instead, the locations at which the bricks are loaded, fired, and unloaded gradually rotate through the trench. Influences on colour. The colour of fired clay bricks is influenced by the chemical and mineral content of the raw materials, the firing temperature, and the atmosphere in the kiln. For example, pink bricks are the result of a high iron content, white or yellow bricks have a higher lime content. Most bricks burn to various red hues; as the temperature is increased the colour moves through dark red, purple, and then to brown or grey at around . The names of bricks may reflect their origin and colour, such as London stock brick and Cambridgeshire White. "Brick tinting" may be performed to change the colour of bricks to blend-in areas of brickwork with the surrounding masonry.
An impervious and ornamental surface may be laid on brick either by salt glazing, in which salt is added during the burning process, or by the use of a slip, which is a glaze material into which the bricks are dipped. Subsequent reheating in the kiln fuses the slip into a glazed surface integral with the brick base. Chemically set bricks. Chemically set bricks are not fired but may have the curing process accelerated by the application of heat and pressure in an autoclave. Calcium-silicate bricks. Calcium-silicate bricks are also called sandlime or flintlime bricks, depending on their ingredients. Rather than being made with clay they are made with lime binding the silicate material. The raw materials for calcium-silicate bricks include lime mixed in a proportion of about 1 to 10 with sand, quartz, crushed flint, or crushed siliceous rock together with mineral colourants. The materials are mixed and left until the lime is completely hydrated; the mixture is then pressed into moulds and cured in an autoclave for three to fourteen hours to speed the chemical hardening. The finished bricks are very accurate and uniform, although the sharp arrises need careful handling to avoid damage to brick and bricklayer. The bricks can be made in a variety of colours; white, black, buff, and grey-blues are common, and pastel shades can be achieved. This type of brick is common in Sweden as well as Russia and other post-Soviet countries, especially in houses built or renovated in the 1970s. A version known as fly ash bricks, manufactured using fly ash, lime, and gypsum (known as the FaL-G process) are common in South Asia. Calcium-silicate bricks are also manufactured in Canada and the United States, and meet the criteria set forth in ASTM C73 – 10 Standard Specification for Calcium Silicate Brick (Sand-Lime Brick).
Concrete bricks. Bricks formed from concrete are usually termed as blocks or concrete masonry unit, and are typically pale grey. They are made from a dry, small aggregate concrete which is formed in steel moulds by vibration and compaction in either an "egglayer" or static machine. The finished blocks are cured, rather than fired, using low-pressure steam. Concrete bricks and blocks are manufactured in a wide range of shapes, sizes and face treatments – a number of which simulate the appearance of clay bricks. Concrete bricks are available in many colours and as an engineering brick made with sulfate-resisting Portland cement or equivalent. When made with adequate amount of cement they are suitable for harsh environments such as wet conditions and retaining walls. They are made to standards BS 6073, EN 771-3 or ASTM C55. Concrete bricks contract or shrink so they need movement joints every 5 to 6 metres, but are similar to other bricks of similar density in thermal and sound resistance and fire resistance. Compressed earth blocks.
Compressed earth blocks are made mostly from slightly moistened local soils compressed with a mechanical hydraulic press or manual lever press. A small amount of a cement binder may be added, resulting in a "stabilised compressed earth block". Types. There are thousands of types of bricks that are named for their use, size, forming method, origin, quality, texture, and/or materials. Categorized by manufacture method: Categorized by use: Specialized use bricks: Bricks named for place of origin: Optimal dimensions, characteristics, and strength. For efficient handling and laying, bricks must be small enough and light enough to be picked up by the bricklayer using one hand (leaving the other hand free for the trowel). Bricks are usually laid flat, and as a result, the effective limit on the width of a brick is set by the distance which can conveniently be spanned between the thumb and fingers of one hand, normally about . In most cases, the length of a brick is twice its width plus the width of a mortar joint, about or slightly more. This allows bricks to be laid "bonded" in a structure which increases stability and strength (for an example, see the illustration of bricks laid in "English bond", at the head of this article). The wall is built using alternating courses of "stretchers", bricks laid longways, and "headers", bricks laid crossways. The headers tie the wall together over its width. In fact, this wall is built in a variation of "English bond" called "English cross bond" where the successive layers of stretchers are displaced horizontally from each other by half a brick length. In true "English bond", the perpendicular lines of the stretcher courses are in line with each other.
A bigger brick makes for a thicker (and thus more insulating) wall. Historically, this meant that bigger bricks were necessary in colder climates (see for instance the slightly larger size of the Russian brick in table below), while a smaller brick was adequate, and more economical, in warmer regions. A notable illustration of this correlation is the Green Gate in Gdansk; built in 1571 of imported Dutch brick, too small for the colder climate of Gdansk, it was notorious for being a chilly and drafty residence. Nowadays this is no longer an issue, as modern walls typically incorporate specialised insulation materials. The correct brick for a job can be selected from a choice of colour, surface texture, density, weight, absorption, and pore structure, thermal characteristics, thermal and moisture movement, and fire resistance. In England, the length and width of the common brick remained fairly constant from 1625 when the size was regulated by statute at 9 x x 3 inches (but see brick tax), but the depth has varied from about or smaller in earlier times to about more recently. In the United Kingdom, the usual size of a modern brick (from 1965) is , which, with a nominal mortar joint, forms a "unit size" of , for a ratio of 6:3:2.
In the United States, modern standard bricks are specified for various uses; The most commonly used is the modular brick has the "actual dimensions" of × × inches (194 × 92 × 57 mm). With the standard inch mortar joint, this gives the "nominal dimensions" of 8 x 4 x inches which eases the calculation of the number of bricks in a given wall. The 2:1 ratio of modular bricks means that when they turn corners, a 1/2 running bond is formed without needing to cut the brick down or fill the gap with a cut brick; and the height of modular bricks means that a soldier course matches the height of three modular running courses, or one standard CMU course. Some brickmakers create innovative sizes and shapes for bricks used for plastering (and therefore not visible on the inside of the building) where their inherent mechanical properties are more important than their visual ones. These bricks are usually slightly larger, but not as large as blocks and offer the following advantages: Blocks have a much greater range of sizes. Standard co-ordinating sizes in length and height (in mm) include 400×200, 450×150, 450×200, 450×225, 450×300, 600×150, 600×200, and 600×225; depths (work size, mm) include 60, 75, 90, 100, 115, 140, 150, 190, 200, 225, and 250. They are usable across this range as they are lighter than clay bricks. The density of solid clay bricks is around 2000 kg/m3: this is reduced by frogging, hollow bricks, and so on, but aerated autoclaved concrete, even as a solid brick, can have densities in the range of 450–850 kg/m3.
Bricks may also be classified as "solid" (less than 25% perforations by volume, although the brick may be "frogged," having indentations on one of the longer faces), "perforated" (containing a pattern of small holes through the brick, removing no more than 25% of the volume), "cellular" (containing a pattern of holes removing more than 20% of the volume, but closed on one face), or "hollow" (containing a pattern of large holes removing more than 25% of the brick's volume). Blocks may be solid, cellular or hollow. The term "frog" can refer to the indentation or the implement used to make it. Modern brickmakers usually use plastic frogs but in the past they were made of wood. The compressive strength of bricks produced in the United States ranges from about , varying according to the use to which the brick are to be put. In England clay bricks can have strengths of up to 100 MPa, although a common house brick is likely to show a range of 20–40 MPa. Uses. Bricks are a versatile building material, able to participate in a wide variety of applications, including:
In the United States, bricks have been used for both buildings and pavement. Examples of brick use in buildings can be seen in colonial era buildings and other notable structures around the country. Bricks have been used in paving roads and sidewalks especially during the late 19th century and early 20th century. The introduction of asphalt and concrete reduced the use of brick for paving, but they are still sometimes installed as a method of traffic calming or as a decorative surface in pedestrian precincts. For example, in the early 1900s, most of the streets in the city of Grand Rapids, Michigan, were paved with bricks. Today, there are only about 20 blocks of brick-paved streets remaining (totalling less than 0.5 percent of all the streets in the city limits). Much like in Grand Rapids, municipalities across the United States began replacing brick streets with inexpensive asphalt concrete by the mid-20th century. In Northwest Europe, bricks have been used in construction for centuries. Until recently, almost all houses were built almost entirely from bricks. Although many houses are now built using a mixture of concrete blocks and other materials, many houses are skinned with a layer of bricks on the outside for aesthetic appeal.
Bricks in the metallurgy and glass industries are often used for lining furnaces, in particular refractory bricks such as silica, magnesia, chamotte and neutral (chromomagnesite) refractory bricks. This type of brick must have good thermal shock resistance, refractoriness under load, high melting point, and satisfactory porosity. There is a large refractory brick industry, especially in the United Kingdom, Japan, the United States, Belgium and the Netherlands. Engineering bricks are used where strength, low water porosity or acid (flue gas) resistance are needed. In the UK a red brick university is one founded in the late 19th or early 20th century. The term is used to refer to such institutions collectively to distinguish them from the older Oxbridge institutions, and refers to the use of bricks, as opposed to stone, in their buildings. Colombian architect Rogelio Salmona was noted for his extensive use of red bricks in his buildings and for using natural shapes like spirals, radial geometry and curves in his designs.
Limitations. Starting in the 20th century, the use of brickwork declined in some areas due to concerns about earthquakes. Earthquakes such as the San Francisco earthquake of 1906 and the 1933 Long Beach earthquake revealed the weaknesses of unreinforced brick masonry in earthquake-prone areas. During seismic events, the mortar cracks and crumbles, so that the bricks are no longer held together. Brick masonry with steel reinforcement, which helps hold the masonry together during earthquakes, has been used to replace unreinforced bricks in many buildings. Retrofitting older unreinforced masonry structures has been mandated in many jurisdictions. However, similar to steel corrosion in reinforced concrete, rebar rusting will compromise the structural integrity of reinforced brick and ultimately limit the expected lifetime, so there is a trade-off between earthquake safety and longevity to a certain extent. Accessibility. The United States Access Board does not specify which materials a sidewalk must be made of in order to be ADA compliant, but states that sidewalks must not have surface variances of greater than one inch. Due to the accessibility challenges of bricks, the Federal Highway Administration recommends against the use of bricks as well as cobblestones in its accessibility guide for sidewalks and crosswalks. The Brick Industry Association maintains standards for making brick more accessible for disabled people, with proper and regular maintenance being necessary to keep brick accessible. Some US jurisdictions, such as San Francisco, have taken steps to remove brick sidewalks from certain areas such as Market Street in order to improve accessibility.
Béla Bartók Béla Viktor János Bartók (; ; 25 March 1881 – 26 September 1945) was a Hungarian composer, pianist and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became known as ethnomusicology. Biography. Childhood and early years (1881–1898). Bartók was born in the Banatian town of Nagyszentmiklós in the Kingdom of Hungary (present-day Sânnicolau Mare, Romania) on 25 March 1881. On his father's side, the Bartók family was a Hungarian lower noble family, originating from Borsodszirák, Borsod. His paternal grandmother was a Catholic of Bunjevci origin, but considered herself Hungarian. Bartók's father (1855–1888) was also named . Bartók's mother, (1857–1939), spoke Hungarian fluently. A native of Turócszentmárton (present-day Martin, Slovakia), she had German, Hungarian and Slovak or Polish ancestry.
Béla displayed notable musical talent very early in life. According to his mother, he could distinguish between different dance rhythms that she played on the piano before he learned to speak in complete sentences. By the age of four he was able to play 40 pieces on the piano, and his mother began formally teaching him the next year. In 1888, when he was seven, his father, the director of an agricultural school, died suddenly. His mother then took Béla and his sister, Erzsébet, to live in Nagyszőlős (present-day Vynohradiv, Ukraine) and then in Pressburg (present-day Bratislava, Slovakia). Béla gave his first public recital aged 11 in Nagyszőlős, to positive critical reception. Among the pieces he played was his own first composition, written two years previously: a short piece called "The Course of the Danube". Shortly thereafter, accepted him as a pupil. Early musical career (1899–1908). From 1899 to 1903, Bartók studied piano under István Thomán, a former student of Franz Liszt, and composition under János Koessler at the Royal Academy of Music in Budapest. There he met Zoltán Kodály, who made a strong impression on him and became a lifelong friend and colleague. In 1903, Bartók wrote his first major orchestral work, "Kossuth", a symphonic poem that honored Lajos Kossuth, hero of the Hungarian Revolution of 1848.
The music of Richard Strauss, whom he met in 1902 at the Budapest premiere of "Also sprach Zarathustra", strongly influenced his early work. When visiting a holiday resort in the summer of 1904, Bartók overheard a young nanny, Lidi Dósa from Kibéd in Transylvania, sing folk songs to the children in her care. This sparked his lifelong dedication to folk music. Beginning in 1907, he came under the influence of French composer Claude Debussy, whose compositions Kodály had brought back from Paris. Bartók's large-scale orchestral works were still in the style of Johannes Brahms and Richard Strauss, but he wrote a number of small piano pieces which showed his growing interest in folk music. The first piece to show clear signs of this new interest is the String Quartet No. 1 in A minor (1908), which contains folk-like elements. He began teaching as a piano professor at the Liszt Academy of Music in Budapest. This position freed him from touring Europe as a pianist. Among his notable students were Fritz Reiner, Sir Georg Solti, György Sándor, Ernő Balogh, Gisela Selden-Goth, and Lili Kraus. After Bartók moved to the United States, he taught Jack Beeson and Violet Archer.
In 1908, Bartok and Kodály traveled into the countryside to collect and research old Magyar folk melodies. Their growing interest in folk music coincided with a contemporary social interest in traditional national culture. Magyar folk music had previously been categorised as Gypsy music. The classic example is Franz Liszt's "Hungarian Rhapsodies" for piano, which he based on popular art songs performed by Romani bands of the time. In contrast, Bartók and Kodály discovered that the old Magyar folk melodies were based on pentatonic scales, similar to those in Asian folk traditions, such as those of Central Asia, Anatolia and Siberia. Bartók and Kodály set about incorporating elements of such Magyar peasant music into their compositions. They both frequently quoted folk song melodies "verbatim" and wrote pieces derived entirely from authentic songs. An example is Bartok's two volumes entitled "For Children" for solo piano, containing 80 folk tunes to which he wrote accompaniment. Bartók's style in his art music compositions was a synthesis of folk music, classicism, and modernism. His melodic and harmonic sense was influenced by the folk music of Hungary, Romania, and other nations. He was especially fond of the asymmetrical dance rhythms and pungent harmonies found in Bulgarian music. Most of his early compositions offer a blend of nationalist and late Romanticism elements.
Middle years and career (1909–1939). Personal life. In 1909, at the age of 28, Bartók married Márta Ziegler (1893–1967), aged 16. Their son, , was born the next year. After nearly 15 years together, Bartók divorced Márta in June 1923. Two months after his divorce, he married Ditta Pásztory (1903–1982), a piano student, ten days after proposing to her. She was aged 19, he 42. Their son, , was born in 1924. Raised as a Catholic, by his early adulthood Bartók had become an atheist. He later became attracted to Unitarianism and publicly converted to the Unitarian faith in 1916. Although Bartók was not conventionally religious, according to his son Béla Bartók III, "he was a nature lover: he always mentioned the miraculous order of nature with great reverence". As an adult, Béla III later became lay president of the Hungarian Unitarian Church. Opera. In 1911, Bartók wrote what was to be his only opera, "Bluebeard's Castle", dedicated to Márta. In creating "Bluebeard's Castle", Bartók uses symbolism to show parallels between unconscious motivation and fate. The opera in showing fate has a strong interaction between the characters and gives the idea that people are not able to control what the outcome will be. He entered it for a prize by the Hungarian Fine Arts Commission, but they rejected his work as not fit for the stage. In 1917 Bartók revised the score for the 1918 première and rewrote the ending. Following the 1919 revolution, in which he actively participated, he was pressured by the Horthy regime to remove the name of librettist Béla Balázs from the opera, as Balázs was of Jewish origin, was blacklisted, and had left the country for Vienna. "Bluebeard's Castle" received only one revival, in 1936, before Bartók emigrated. For the remainder of his life, although devoted to Hungary, its people and its culture, he never felt much loyalty to the government or its official establishments.
Folk music and composition. After his disappointment over the Fine Arts Commission competition, Bartók wrote little for two or three years, preferring to concentrate on collecting and arranging folk music. He found the phonograph an essential tool for collecting folk music for its accuracy, objectivity, and manipulability. He collected first in the Carpathian Basin (then the Kingdom of Hungary), where he notated Hungarian, Slovak, Romanian, and Bulgarian folk music. The developmental breakthrough for Bartok arrived when he collaboratively collected folk music with Zoltán Kodály through the medium of a phonomotor, on which they studied classification possibilities (for individual folk songs) and recorded hundreds of cylinders. Bartok's compositional command of folk elements is expressed in such an authentic and undiluted a manner because of the scales, sounds, and rhythms that were so much a part of his native Hungary that he automatically saw music in these terms. He also collected in Moldavia, Wallachia, and (in 1913) Algeria. The outbreak of World War I forced him to stop the expeditions, but he returned to composing with a ballet called "The Wooden Prince" (1914–1916) and the String Quartet No. 2 in (1915–1917), both influenced by Debussy.
Bartók's "libretto" for "The Miraculous Mandarin", another ballet, was influenced by Igor Stravinsky, Arnold Schoenberg and Richard Strauss. Though started in 1918, the story's sexual content kept it from being performed until 1926. He next wrote his two violin sonatas (written in 1921 and 1922, respectively), which are among his most harmonically and structurally complex pieces. In March 1927, he visited Barcelona and performed the "Rhapsody for piano" Sz. 26 with the Orquestra Pau Casals at the Gran Teatre del Liceu. During the same stay, he attended a concert by the at the Palau de la Música Catalana. According to the critic , "he was very interested in the sardanas, above all, the freshness, spontaneity and life of our music [...] he wanted to know the mechanism of the tenoras and the tibles, and requested data on the composition of the cobla and extension and characteristics of each instrument". In 1927–1928, Bartók wrote his Third and Fourth String Quartets, after which his compositions demonstrated his mature style. Notable examples of this period are "Music for Strings, Percussion and Celesta" (1936) and Divertimento for String Orchestra (1939). The Fifth String Quartet was composed in 1934, and the Sixth String Quartet (his last) in 1939. In 1936 he travelled to Turkey to collect and study Turkish folk music. He worked in collaboration with Turkish composer Ahmet Adnan Saygun mostly around Adana.
World War II and final years (1940–1945). In 1940, as the European political situation worsened after the outbreak of World War II, Bartók was increasingly tempted to flee Hungary. He strongly opposed the Nazis and Hungary's alliance with Germany and the Axis powers under the Tripartite Pact. After the Nazis came to power in 1933, Bartók refused to give concerts in Germany and broke away from his publisher there. His anti-fascist political views caused him a great deal of trouble with the establishment in Hungary. In his will recorded on 4 October 1940, he requested that no square or street be named after him until the Budapest squares Oktogon and Kodály körönd, or in fact any square or street in Hungary, no longer bore the names of Mussolini or Hitler, as they did at the time he wrote his will. Having first sent his manuscripts out of the country, Bartók reluctantly emigrated to the US with his wife, Ditta Pásztory, in October 1940. They settled in New York City after arriving on the night of 29–30 October by a steamer from Lisbon. After joining them in 1942, their younger son Péter Bartók enlisted in the United States Navy, where he served in the Pacific during the remainder of the war and later settled in Florida, where he became a recording and sound engineer. His elder son by his first marriage, Béla Bartók III, remained in Hungary and later worked as a railroad official until his retirement in the early 1980s.
Although he became an American citizen in 1945 shortly before his death, Bartók never felt fully at home in the United States. He initially found it difficult to compose in his new surroundings. Although he was well known in America as a pianist, ethnomusicologist and teacher, he was not well known as a composer. There was little American interest in his music during his final years. He and his wife Ditta gave some concerts, but demand for them was low. Bartók, who had made some recordings in Hungary, also recorded for Columbia Records after he came to the US; many of these recordings (some with Bartók's own spoken introductions) were later issued on LP and CD. Bartók was supported by a $3000-yearly research fellowship from Columbia University for several years (more than $50,000 in 2024 dollars). He and Ditta worked on a large collection of Serbian and Croatian folk songs in Columbia's libraries. Bartók's economic difficulties during his first years in America were mitigated by publication royalties, teaching and performance tours.
Bartók's economic difficulties during his first years in America were mitigated by publication royalties, teaching and performance tours. While his finances were always precarious, he did not live and die in poverty as was the common myth. He had enough friends and supporters to ensure that there was sufficient money and work available for him to live on. Bartók was a proud man and did not easily accept charity. Despite being short on cash at times, he often refused money that his friends offered him out of their own pockets. Although he was not a member of the ASCAP, the society paid for any medical care he needed during his last two years, to which Bartók reluctantly agreed. According to Edward Jablonski's 1963 article, "At no time during Bartók's American years did his income amount to less than $4,000 a year" (about $70,000 in 2024 dollars). The first symptoms of his health problems began late in 1940, when his right shoulder began to show signs of stiffening. In 1942, symptoms increased and he started having bouts of fever.
According to Edward Jablonski's 1963 article, "At no time during Bartók's American years did his income amount to less than $4,000 a year" (about $70,000 in 2024 dollars). The first symptoms of his health problems began late in 1940, when his right shoulder began to show signs of stiffening. In 1942, symptoms increased and he started having bouts of fever. Bartók's illness was at first thought to be a recurrence of the tuberculosis he had experienced as a young man, and one of his doctors in New York was Edgar Mayer, director of Will Rogers Memorial Hospital in Saranac Lake, but medical examinations found no underlying disease. Finally, in April 1944, leukemia was diagnosed, but by this time, little could be done.
As his body slowly failed, Bartók found more creative energy and produced a final set of masterpieces, partly thanks to the violinist Joseph Szigeti and the conductor Fritz Reiner (Reiner had been Bartók's friend and champion since his days as Bartók's student at the Royal Academy). Bartók's last work might well have been the String Quartet No. 6 but for Serge Koussevitzky's commission for the Concerto for Orchestra. Koussevitsky's Boston Symphony Orchestra premiered the work in December 1944 to highly positive reviews. The Concerto for Orchestra quickly became Bartók's most popular work, although he did not live to see its full impact. In 1944, he was also commissioned by Yehudi Menuhin to write a Sonata for Solo Violin. In 1945, Bartók composed his Piano Concerto No. 3, a graceful and almost neo-classical work, as a surprise 42nd birthday present for Ditta, but he died just over a month before her birthday, with the scoring not quite finished. He had also sketched his Viola Concerto, but had barely started the scoring at his death, leaving completed only the viola part and sketches of the orchestral part.
Béla Bartók died at age 64 in a hospital in New York City from complications of leukemia (specifically, of secondary polycythemia) on 26 September 1945. His funeral was attended by only ten people. Aside from his widow and their son, other attendees included György Sándor. Bartók's body was initially interred in Ferncliff Cemetery in Hartsdale, New York. During the final year of communist Hungary in the late 1980s, the Hungarian government, along with his two sons, Béla III and Péter, requested that his remains be exhumed and transferred back to Budapest for burial, where Hungary arranged a state funeral for him on 7 July 1988. He was re-interred at Budapest's Farkasréti Cemetery, next to the remains of Ditta, who died in 1982, one year after what would have been Béla Bartók's 100th birthday. The two unfinished works were later completed by his pupil Tibor Serly. György Sándor was the soloist in the first performance of the Third Piano Concerto on 8 February 1946. Ditta Pásztory-Bartók later played and recorded it. The Viola Concerto was revised and published in the 1990s by Bartók's son; this version may be closer to what Bartók intended. Concurrently, Peter Bartók, in association with Argentine musician Nelson Dellamaggiore, worked to reprint and revise past editions of the Third Piano Concerto.
Music. Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony that had served composers for the previous two hundred years; and the revival of nationalism as a source for musical inspiration, a trend that began with Mikhail Glinka and Antonín Dvořák in the last half of the 19th century. In his search for new forms of tonality, Bartók turned to Hungarian folk music, as well as to other folk music of the Carpathian Basin and even of Algeria and Turkey; in so doing he became influential in that stream of modernism which used indigenous music and techniques. One characteristic style of music is his Night music, which he used mostly in slow movements of multi-movement ensemble or orchestral compositions in his mature period. It is characterised by "eerie dissonances providing a backdrop to sounds of nature and lonely melodies". An example is the third movement (Adagio) of his "Music for Strings, Percussion and Celesta". His music can be grouped roughly in accordance with the different periods in his life.
Early years (1890–1902). The works of Bartók's youth were written in a classical and early romantic style touched with influences of popular and romani music. Between 1890 and 1894 (9 to 13 years of age) he wrote 31 piano pieces. Although most of these were simple dance pieces, in these early works Bartók began to tackle some more advanced forms, as in his ten-part programmatic "A Duna folyása" ("The Course of the Danube", 1890–1894), which he played in his first public recital in 1892. In Catholic grammar school Bartók took to studying the scores of composers "from Bach to Wagner", his compositions then advancing in style and taking on similarities to Schumann and Brahms. Following his matriculation into the Budapest Academy in 1890 he composed very little, though he began to work on exercises in orchestration and familiarized himself thoroughly with the operas of Wagner. In 1902 his creative energies were revitalized by the discovery of the music of Richard Strauss, whose tone poem "Also sprach Zarathustra", according to Bartók, "stimulated the greatest enthusiasm in me; at last I saw the way that lay before me". Bartók also owned the score to "A Hero's Life", which he transcribed for the piano and committed to memory.
New influences (1903–1911). Under the influence of Strauss, Bartók composed in 1903 "Kossuth", a symphonic poem in ten tableaux on the subject of the 1848 Hungarian war of independence, reflecting the composers growing interest in musical nationalism. A year later he renewed his opus numbers with the "Rhapsody for Piano and Orchestra" serving as Opus 1. Driven by nationalistic fervor and a desire to transcend the influence of prior composers, Bartók began a lifelong devotion to folk music, which was sparked by his overhearing nanny Lidi Dósa's singing of Transylvanian folk songs at a Hungarian resort in 1904. Bartók began to collect Magyar peasant melodies, later extending to the folk music of other peoples of the Carpathian Basin, Slovaks, Romanians, Rusyns, Serbs and Croatians. He used fewer and fewer romantic elements, in favour of an idiom that embodied folk music as intrinsic and essential to its style. Later in life he commented on the incorporation of folk and art music: The question is, what are the ways in which peasant music is taken over and becomes transmuted into modern music? We may, for instance, take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases. This kind of work would show a certain analogy with Bach's treatment of chorales. ... Another method ... is the following: the composer does not make use of a real peasant melody but invents his own imitation of such melodies. There is no true difference between this method and the one described above. ... There is yet a third way ... Neither peasant melodies nor imitations of peasant melodies can be found in his music, but it is pervaded by the atmosphere of peasant music. In this case we may say, he has completely absorbed the idiom of peasant music which has become his musical mother tongue.
Bartók became first acquainted with Debussy's music in 1907 and regarded his music highly. In an interview in 1939 Bartók said: Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities. In that, he was just as important as Beethoven, who revealed to us the possibilities of progressive form, or as Bach, who showed us the transcendent significance of counterpoint. Now, what I am always asking myself is this: is it possible to make a synthesis of these three great masters, a living synthesis that will be valid for our time? Debussy's influence is present in the Fourteen Bagatelles (1908). These made Ferruccio Busoni exclaim: "At last something truly new!" Until 1911, Bartók composed widely differing works which ranged from adherence to romantic style, to folk song arrangements and to his modernist opera "Bluebeard's Castle". The negative reception of his work led him to focus on folk music research after 1911 and abandon composition with the exception of folk music arrangements.
Inspiration and experimentation (1916–1921). His pessimistic attitude towards composing was lifted by the stormy and inspiring contact with Klára Gombossy in the summer of 1915. This interesting episode in Bartók's life remained hidden until it was researched by Denijs Dille between 1979 and 1989. Bartók started composing again, including the Suite for piano opus 14 (1916), and "The Miraculous Mandarin" (1919) and he completed "The Wooden Prince" (1917). Bartók felt the result of World War I as a personal tragedy. Many regions he loved were severed from Hungary: Transylvania, the Banat (where he was born), and Bratislava (Pozsony, where his mother had lived). Additionally, the political relations between Hungary and other successor states to the Austro-Hungarian empire prohibited his folk music research outside of Hungary. Bartók also wrote the noteworthy "Eight Improvisations on Hungarian Peasant Songs" in 1920 and the sunny "Dance Suite" in 1923, the year of his second marriage. "Synthesis of East and West" (1926–1945).
In 1926, Bartók needed a significant piece for piano and orchestra with which he could tour in Europe and America. He was particularly inspired by American composer Henry Cowell's controversial use of intense tone clusters on the piano while touring western Europe. Bartók happened to be present at one of these concerts and (to avoid causing offence) later requested Cowell's permission to use his technique, which Cowell granted. In the preparation for writing his first Piano Concerto, he wrote his Sonata, "Out of Doors", and "Nine Little Pieces", all for solo piano, and all of which prominently utilize clusters. He increasingly found his own voice in his maturity. The style of his last period named "Synthesis of East and West" is hard to define let alone to put under one term. In his mature period, Bartók wrote relatively few works but most of them are large-scale compositions for large settings. Only his voice works have programmatic titles and his late works often adhere to classical forms. Among Bartók's most important works are the six string quartets (1909, 1917, 1927, 1928, 1934, and 1939), the "Cantata Profana" (1930), which Bartók declared was the work he felt and professed to be his most personal "credo", the "Music for Strings, Percussion and Celesta" (1936), the Concerto for Orchestra (1943) and the Third Piano Concerto (1945). He made a lasting contribution to the literature for younger students: for his son Péter's music lessons, he composed "Mikrokosmos", a six-volume collection of graded piano pieces.
Musical analysis. Paul Wilson lists as the most prominent characteristics of Bartók's music from late 1920s onwards the influence of the Carpathian basin and European art music, and his changing attitude toward (and use of) tonality, but without the use of the traditional harmonic functions associated with major and minor scales. Although Bartók claimed in his writings that his music was always tonal, he rarely used the chords or scales normally associated with tonality, and so the descriptive resources of tonal theory are of limited use. George and Elliott focus on his alternative methods of signaling tonal centers, via axes of inversional symmetry. Others view Bartók's axes of symmetry in terms of atonal analytic protocols. Richard argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes resources for exploring polymodal chromaticism, projected sets, privileged patterns, and large set types used as source sets such as the equal tempered twelve tone aggregate, octatonic scale (and alpha chord), the diatonic and "heptatonia secunda" seven-note scales, and less often the whole tone scale and the primary pentatonic collection.
He rarely used the simple aggregate actively to shape musical structure, though there are notable examples such as the second theme from the first movement of his Second Violin Concerto, of which he commented that he "wanted to show Schoenberg that one can use all twelve tones and still remain tonal". More thoroughly, in the first eight measures of the last movement of his Second Quartet, all notes gradually gather with the twelfth (G) sounding for the first time on the last beat of measure 8, marking the end of the first section. The aggregate is partitioned in the opening of the Third String Quartet with C–D–D–E in the accompaniment (strings) while the remaining pitch classes are used in the melody (violin 1) and more often as 7–35 (diatonic or "white-key" collection) and 5–35 (pentatonic or "black-key" collection) such as in no. 6 of the "Eight Improvisations". There, the primary theme is on the black keys in the left hand, while the right accompanies with triads from the white keys. In measures 50–51 in the third movement of the Fourth Quartet, the first violin and cello play black-key chords, while the second violin and viola play stepwise diatonic lines. On the other hand, from as early as the Suite for piano, Op. 14 (1914), he occasionally employed a form of serialism based on compound interval cycles, some of which are maximally distributed, multi-aggregate cycles. Ernő Lendvai analyses Bartók's works as being based on two opposing tonal systems, that of the acoustic scale and the axis system, as well as using the golden section as a structural principle.
Milton Babbitt, in his 1949 review of Bartók's string quartets, criticized Bartók for using tonality and non-tonal methods unique to each piece. Babbitt noted that "Bartók's solution was a specific one, it cannot be duplicated". Bartók's use of "two organizational principles"—tonality for large scale relationships and the piece-specific method for moment to moment thematic elements—was a problem for Babbitt, who worried that the "highly attenuated tonality" requires extreme non-harmonic methods to create a feeling of closure. Catalogues. The cataloguing of Bartók's works is somewhat complex. Bartók assigned opus numbers to his works three times, the last of these series ending with the Sonata for Violin and Piano No. 1, Op. 21 in 1921. He ended this practice because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing. The first, and still most widely used, is András Szőllősy's chronological Sz. numbers, from 1 to 121. subsequently reorganised the juvenilia (Sz. 1–25) thematically, as DD numbers 1 to 77. The most recent catalogue is that of László Somfai; this is a chronological index with works identified by BB numbers 1 to 129, incorporating corrections based on the Béla Bartók Thematic Catalogue.
On 1 January 2016, Bartók's works entered the public domain in the European Union. Discography. Together with his like-minded contemporary Zoltán Kodály, Bartók embarked on an extensive programme of field research to capture the folk and peasant melodies of Magyar, Slovak and Romanian language territories. At first they transcribed the melodies by hand, but later they began to use a phonomotor, a wax cylinder recording machine invented by Thomas Edison. Compilations of Bartók's field recordings, interviews, and original piano playing have been released over the years, largely by the Hungarian record label Hungaroton: A compilation of field recordings and transcriptions for two violas was also recently released by Tantara Records in 2014. On 18 March 2016 Decca Classics released "Béla Bartók: The Complete Works", the first ever complete compilation of all of Bartók's compositions, including new recordings of never-before-recorded early piano and vocal works. However, none of the composer's own performances are included in this 32-disc set.
Bill Haley William John Clifton Haley (; July 6, 1925 – February 9, 1981) was an American rock and roll musician. He is credited by many with first popularizing this form of music in the early 1950s with his group Bill Haley & His Comets and million-selling hits such as "Rock Around the Clock", "See You Later, Alligator", "Shake, Rattle and Roll", "Rocket 88", "Skinny Minnie", and "Razzle Dazzle". Haley has sold over 60 million records worldwide. In 1987, he was posthumously inducted into the Rock and Roll Hall of Fame. Biography. Early life and career. Haley was born July 6, 1925, in Highland Park, Michigan. In 1929, the four-year-old Haley underwent an inner-ear mastoid operation which accidentally severed an optic nerve, leaving him blind in his left eye for the rest of his life. It is said that he adopted his trademark kiss curl over his right eye to draw attention from his left, but it also became his "gimmick", and added to his popularity. As a result of the effects of the Great Depression on the Detroit area, his father moved the family to Bethel Township, Pennsylvania, when Bill was seven years old. Haley's father William Albert Haley (1900–1956) was from Kentucky and played the banjo and mandolin, and his mother, Maude Green (1895–1955), who was originally from Ulverston in Lancashire, England, was a technically accomplished keyboardist with classical training. Haley told the story that when he made a simulated guitar out of cardboard, his parents bought him a real one.
One of his first appearances was in 1938 for a Bethel Junior baseball team entertainment event, performing guitar and songs when he was 13 years old. The anonymous sleeve notes accompanying the 1956 Decca album "Rock Around the Clock" describe Haley's early life and career: "When Bill Haley was fifteen [c. 1940] he left home with his guitar and very little else and set out on the hard road to fame and fortune. The next few years, continuing this story in a fairy-tale manner, were hard and poverty-stricken, but crammed full of useful experience. Apart from learning how to exist on one meal a day and other artistic exercises, he worked at an open-air park show, sang and yodelled with any band that would have him, and worked with a traveling medicine show. Eventually he got a job with a popular group known as the 'Down Homers' while they were in Hartford, Connecticut. Soon after this he decided, as all successful people must decide at some time or another, to be his own boss again – and he has been that ever since." These notes fail to account for his early band, known as the Four Aces of Western Swing. During the 1940s Haley was considered one of the top cowboy yodelers in America as "Silver Yodeling Bill Haley". One source states that Haley started his career as "The Rambling Yodeler" in a country band, The Saddlemen.
The sleeve notes conclude: "For six years Bill Haley was a musical director of Radio Station WPWA in Chester, Pennsylvania, and led his own band all through this period. It was then known as Bill Haley's Saddlemen, indicating their definite leaning toward the tough Western style. They continued playing in clubs as well as over the radio around Philadelphia, and in 1951 made their first recordings on Ed Wilson's Keystone Records in Philadelphia." The group subsequently signed with Dave Miller's Holiday Records and, on June 14, 1951, the Saddlemen recorded a cover of the Delta Cats "Rocket 88". Bill Haley and His Comets. During the Labor Day weekend in 1952, the Saddlemen were renamed Bill Haley with Haley's Comets. The name was inspired by the supposedly official pronunciation of Halley's Comet and was suggested by Bob Johnson, program director at radio station WPWA where Bill Haley had a live radio program from 12:00noon to 1:00p.m. In 1953, Haley's recording of "Crazy Man, Crazy" (co-written by Haley and his bass player, Marshall Lytle, although Lytle would not receive credit until 2001) hit the American charts, peaking at number 12 on "Billboard" and number 11 on "Cash Box". Some sources indicate that this was the first rock and roll record in history, although rockabilly might be a more appropriate term. By the time this record was released, the group's name had been revised to using the term "Comets" instead of "Saddlemen".
In 1954, Haley recorded "Rock Around the Clock". Initially, it was only a moderate success, peaking at number 36 on the "Cash Box" pop singles chart and staying on the charts for just two weeks. On re-release, the record reached number one on July 9, 1955. Haley had already had a worldwide hit with "Shake, Rattle and Roll", another rhythm and blues cover in this case from Big Joe Turner, which went on to sell a million copies and was the first rock 'n' roll song to enter the UK Singles Chart in December 1954, becoming a gold record. He retained elements of the original (which was slow blues), but sped it up with some country music aspects into the song (specifically, Western swing) and changed up the lyrics. Haley and his band were important in launching the music known as "Rock and Roll" to a wider audience after a period of it being considered an underground genre. When "Rock Around the Clock" appeared as the theme song of the 1955 film "Blackboard Jungle" starring Glenn Ford, it soared to the top of the American "Billboard" chart for eight weeks. The single is commonly used as a convenient line of demarcation between the "rock era" and the music industry that preceded it. "Billboard" separated its statistical tabulations into 1890–1954 and 1955–present. After the record rose to number one, Haley became widely popular with those who had come to embrace the new style of music. With the song's success, the age of rock music began overnight and ended the dominance of the jazz and pop standards performed by Frank Sinatra, Jo Stafford, Perry Como, Bing Crosby, Eddie Fisher, and Patti Page. "Rock Around the Clock" was also the first record to sell over one million copies in both Britain and Germany. Danny Cedrone, not a member of The Comets, played the guitar solo on the record, though did not live long enough to see the song's success as he died shortly after the recording following a fall down stairs at his home, aged 33.
Bill Haley and the Comets performed "Rock Around the Clock" on the "Texaco Star Theater" hosted by Milton Berle on May 31, 1955, on NBC in an" a cappella" and lip-synched version. Berle predicted that the song would go number one: "A group of entertainers who are going right to the top." Berle also sang and danced to the song which was performed by the entire cast of the show. This was one of the earliest nationally televised performances by a rock and roll band and provided the new musical genre with a much wider audience. Bill Haley and the Comets were the first rock and roll act to appear on American musical variety series the "Ed Sullivan Show" on August 7, 1955, on CBS in a broadcast that originated from the Shakespeare Festival Theater in Stratford, Connecticut. They performed a live version of "Rock Around the Clock" with Franny Beecher on lead guitar and Dick Richards on drums. The band made their second appearance on the show on Sunday, April 28, 1957, performing the songs "Rudy's Rock" and "Forty Cups of Coffee".
Later on in 1957, Haley became the first major American rock singer to tour Europe. Haley continued to score hits throughout the 1950s such as "See You Later, Alligator" and he starred in the first rock and roll musical films "Rock Around the Clock" and "Don't Knock the Rock", both in 1956. Haley was already 30 years old, and his popularity was soon eclipsed in the United States by the younger Elvis Presley, but continued to enjoy great popularity in Latin America, Europe, and Australia during the 1960s. Bill Haley and the Comets appeared on "American Bandstand" hosted by Dick Clark on ABC twice in 1957, on the prime time show October 28, 1957, and on the regular daytime show on November 27, 1957. The band also appeared on Dick Clark's "Saturday Night Beechnut Show", also known as "The Dick Clark Show", a primetime TV series from New York on March 22, 1958, during the first season and on February 20, 1960, performing "Rock Around the Clock"; "Shake, Rattle and Roll"; and "Tamiami". Personal life. Marriages. Haley was married at least three times:
Children. Haley had at least ten children. John W. Haley, his eldest son, wrote "Sound and Glory", a biography of Haley. His youngest daughter, Gina Haley, is a professional musician based in Texas. Scott Haley is an athlete. His youngest son Pedro is also a musician. He also had a daughter, Martha Maria, from his marriage with Martha Velasco. Bill Haley Jr., Haley's second son and first with Joan Barbara "Cuppy" Haley-Hahn, publishes a regional business magazine. In 2011, he formed a tribute band, performing his father's music and telling the stories behind the songs. Last years and death. Haley failed to achieve the level of success enjoyed by contemporaries such as Little Richard and Jerry Lee Lewis. According to one source, "he had conflicted feelings about fame, was extremely private, suffered chronic alcoholism, and troubled relationships". Having admitted to an alcohol problem in a 1974 radio interview for the BBC, Haley continued to battle alcoholism into the 1970s. Nonetheless, he and his band continued to be a popular touring act, benefiting from a 1950s nostalgia movement that began in the late 1960s and the signing of a lucrative record deal with the European Sonet label. After performing for Queen Elizabeth II at the Royal Variety Performance on November 26, 1979, Haley made his final performances in South Africa in May and June 1980. Just before the South African tour commenced, Haley was diagnosed with a brain tumor, and a planned tour of Germany in the autumn of 1980 was subsequently cancelled.
Despite his illness, Haley started compiling notes for possible use as a basis for either a biographical film based on his life, or a published autobiography (accounts differ), and there were plans for him to record an album in Memphis, Tennessee, when the brain tumor began affecting his behavior and he returned to his home in Harlingen, Texas. The October 25, 1980, issue of German tabloid "Bild" reported that Haley had a brain tumor. Haley's British manager, Patrick Malynn, was quoted as saying that "Haley had taken a fit [and] didn't recognize anyone anymore." In addition, a doctor who examined Haley said that the tumor was inoperable. Haley's widow Martha, who was with him in these troubling times, denied he had a brain tumor, as did his close friend Hugh McCallum. Martha and friends related that Haley did not want to go on the road anymore and that ticket sales for that planned tour of Germany in the fall of 1980 were slow. McCallum said, "It's my unproven gut feeling that that [the brain tumor] was said to curtail talks about the tour and play the sympathy card."
At the same time, Haley's alcoholism appeared to be worsening. According to Martha, by this time, she and Haley fought all the time and she told him to stop drinking or move out. Eventually, he moved into a room in their pool house. Martha still took care of him and sometimes, he would come in the house to eat, but he ate very little. "There were days we never saw him", said his daughter Martha Maria. In addition to Haley's drinking problems, it was becoming evident that he was also developing serious mental health issues. Martha Maria said, "It was like sometimes he was drunk even when he wasn't drinking." After being picked up by the police in Harlingen several times for alleged intoxication, Martha had a judge put Haley in the hospital, where he was seen by a psychiatrist, who said Haley's brain was overproducing a chemical, like adrenaline. The doctor prescribed a medication to stop the overproduction, but said Haley would have to stop drinking. Martha said, "This is pointless." She took him home, however, fed him and gave him his first dose. As soon as he felt better, he went back out to his room in the pool house, and the downward spiral continued until his death.
Media reports immediately following his death indicated that Haley displayed deranged and erratic behavior in the final weeks of his life. According to a biography of Haley by John Swenson, released in 1982, Haley made a succession of bizarre, mostly monologue late-night phone calls to friends and relatives toward the end of his life in which he was semi-coherent. His first wife has been quoted as saying, "He would call you and ramble, dwelling on the past..." The biography also describes Haley painting the windows of his home black, but there is little other information available about his final days. Haley died at his home in Harlingen on February9, 1981, aged 55. He was discovered lying motionless on his bed by a friend who had stopped by to visit him. The friend immediately called the police and Haley was pronounced dead at the scene. Haley's death certificate gave "natural causes, most likely a heart attack" as being the cause. Following a small funeral service attended by 75 people, Haley was cremated in Brownsville, Texas.
Tributes and legacy. Haley received a star on the Hollywood Walk of Fame at 6350 Hollywood Boulevard on February8, 1960, for his contributions to the music industry. Haley was posthumously inducted into the Rock and Roll Hall of Fame in 1987. His son Pedro represented him at the ceremony. The Comets were separately inducted into the Hall of Fame as a group in 2012, after a rule change allowed the induction of backing groups. Songwriters Tom Russell and Dave Alvin addressed Haley's demise in musical terms with "Haley's Comet" on Alvin's 1991 album "Blue Blvd." Dwight Yoakam sang backup on the tribute. Surviving members of the 1954–55 contingent of Haley's Comets reunited in the late 1980s and continued to perform for many years around the world. They released a concert DVD in 2004 on Hydra Records, played the Viper Room in West Hollywood in 2005, and performed at Dick Clark's American Bandstand Theater in Branson, Missouri, beginning in 2006–07. As of 2014, only two members of this particular contingent were still alive (Joey Ambrose and Dick Richards), but they continued to perform in Branson and Europe. In 2019, Dick Richards, the drummer of the Comets, died at the age of 95. As of 2014, at least two other groups continue to perform in North America under the Comets name.
In March 2007, the Original Comets opened the Bill Haley Museum in Munich, Germany. On October 27, 2007, ex-Comets guitar player Bill Turner opened the Bill Haley Museum for the public. Asteroid. In February 2006, the International Astronomical Union announced the naming of asteroid 79896 Billhaley to mark the 25th anniversary of Haley's death. Film portrayals. Unlike his contemporaries, Haley has rarely been portrayed on screen. Following the success of "The Buddy Holly Story" in 1978, Haley expressed interest in having his life story committed to film, but this never came to fruition. In the 1980s and early 1990s, numerous media reports emerged stating that plans were underway to do a biopic based upon Haley's life, with Beau Bridges, Jeff Bridges and John Ritter all at one point being mentioned as actors in line to play Haley (according to "Goldmine Magazine", Ritter attempted to buy the film rights to "Sound and Glory"). Haley has been portrayed by: Discography. Before the formation of Bill Haley and the Saddlemen, which later became the Comets, Haley released several singles with other groups. Dates are approximate due to lack of documentation.
As Bill Haley and the Four Aces of Western Swing: 1948 1949 As Johnny Clifton and His String Band: 1950 Many Haley discographies list two 1946 recordings by the Down Homers released on the Vogue Records label as featuring Haley. Haley historian Chris Gardner, as well as surviving members of the group, have confirmed that the two singles: "Out Where the West Winds Blow"/"Who's Gonna Kiss You When I'm Gone" (Vogue R736) and "Boogie Woogie Yodel"/"Baby I Found Out All About You" (Vogue R786) do not feature Haley. However, the tracks were nonetheless included in the compilation box set "Rock 'n' Roll Arrives" released by Bear Family Records in 2006. Compositions. Haley's compositions included "Four Leaf Clover Blues" in 1948; "Rose of My Heart"; "Yodel Your Blues Away"; "Crazy Man, Crazy"; "What'Cha Gonna Do"; "Fractured"; "Live It Up"; "Farewell, So Long, Goodbye"; "Real Rock Drive"; "Rocking Chair on the Moon"; "Sundown Boogie"; "Green Tree Boogie"; "Tearstains on My Heart"; "Down Deep in My Heart"; "Straight Jacket"; "Birth of the Boogie"; "Two Hound Dogs"; "Rock-A-Beatin' Boogie"; "Hot Dog Buddy Buddy"; "R-O-C-K"; "Rudy's Rock"; "Calling All Comets"; "Tonight's the Night"; "Hook, Line and Sinker"; "Sway with Me"; "Paper Boy (On Main Street U.S.A.)"; "Skinny Minnie"; "B.B. Betty"; "Eloise"; "Whoa Mabel!"; "Vive le Rock and Roll"; "I've Got News For You"; "So Right Tonight"; "Jamaica D.J."; "Ana Maria"; "Yucatán Twist"; "Football Rock and Roll"; "Let the Good Times Roll Again" in 1979; and "Chick Safari" in 1960.
He also wrote or co-wrote songs for other artists such as "I've Got News for You" for Penny Smith in 1955 on Kahill, "Calypso Rock" for Dave Day and The Red Coats on Kapp in 1956, "Half Your Heart" with Robert J. Hayes for Kitty Nation in 1956 on Wing, "I Oughta" and "Everything But You" for Dotti Malone in 1956 also on Wing, "A.B.C. Rock" and "Rocky the Rockin' Rabbit" (among others) for Sally Starr for an album she released on Haley's own label, Clymax Records, "A Sweet Bunch of Roses" for Country and Western singer Lou Graham, "Toodle-Oo-Bamboo" for Ray Coleman and His Skyrockets on Skyrocket Records in 1959, "Always Together" for the Cook Brothers on Arcade in 1960, "Crazy Street" for The Matys Brothers on Coral Records, "The Cat" for Cappy Bianco, and "(Ya Gotta) Sing For the Ladies" and "Butterfly Love" for Ginger Shannon and Johnny Montana in 1960 on Arcade as well as "I'm Shook" and "Broke Down Baby", both of which were recorded by The Tyrones in 1958–59. Awards. In 1982, Haley's "Rock Around the Clock" was inducted into the Grammy Hall of Fame, a special Grammy award established in 1973 to honor recordings at least 25 years old and with "qualitative or historical significance". In December 2017, Haley was inducted into the Rhythm and Blues Hall Of Fame.
Northern bobwhite The northern bobwhite (Colinus virginianus), also known as the Virginia quail or (in its home range) bobwhite quail, is a ground-dwelling bird native to Canada, the United States, Mexico, and Cuba, with introduced populations elsewhere in the Caribbean, Europe, and Asia. It is a member of the group of species known as New World quail (Odontophoridae). They were initially placed with the Old World quail in the pheasant family (Phasianidae), but are not particularly closely related. The name "bobwhite" is an onomatopoeic derivation from its characteristic whistling call. Despite its secretive nature, the northern bobwhite is one of the most familiar quails in eastern North America, because it is frequently the only quail in its range. Habitat degradation has contributed to the northern bobwhite population in eastern North America declining by roughly 85% from 1966 to 2014. This population decline is apparently range-wide and continuing. There are 20 subspecies of northern bobwhite, many of which are hunted extensively as game birds. One subspecies, the masked bobwhite ("Colinus virginianus ridgwayi"), is listed as endangered with wild populations located in the northern Mexican state of Sonora and a reintroduced population in Buenos Aires National Wildlife Refuge in southern Arizona.
Taxonomy. The northern bobwhite was formally described in 1758 by the Swedish naturalist Carl Linnaeus in the tenth edition of his "Systema Naturae" under the binomial name "Tetrao virginianus". Linnaeus specified the type location as "America" but this has been restricted to the state of Virginia. Linnaeus based his account on the "American partridge" that had been described and illustrated by the English naturalist Mark Catesby in his book "The Natural History of Carolina, Florida and the Bahama Islands". The northern bobwhite is now one of four species placed in the genus "Colinus" that was introduced in 1820 by the German naturalist Georg August Goldfuss. Subspecies. There are 20 recognized subspecies in four groups. One subspecies, the Key West bobwhite ("C. v. insulanus"), is extinct. The subspecies are listed in taxonomic order: The holotype specimen of "Ortyx pectoralis" Gould (Proc. Zool. Soc. London, 1842 (1843), p.182.) is held in the collections of the National Museums Liverpool at the World Museum, with accession number D3713. The specimen died in the aviary at Knowsley Hall, Lancashire and came to the Liverpool national collection via the 13th Earl of Derby's collection, which was bequeathed to the people of Liverpool in 1851.

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