title: Polish Land Forces

text: Following Russia's invasion of Ukraine in February 2022, Poland has donated over 200 T-72 tanks to Ukraine's army, along with dozens of armored vehicles. As a result of the invasion, the Polish government has expedited the process of modernizing its military equipment. In July 2022, Poland signed a contract to acquire 1000 new generation K2 Black Panther and 460 K9 Thunder howitzers from South Korea for US$2.4 billion. The first batch of K2 tanks and K9 howitzers was delivered in December 2022, with further deliveries scheduled through 2026.


title: Polish Land Forces

text: Looking towards the future, the 'Wilk' procurement program envisions the acquisition of up to 500 new tanks. Some of the T-72s and PT-91s will be replaced by M1A2 Abrams SEPv3 main battle tanks (separate from the Wilk program) after Poland signed a contract to purchase 250 Abrams M1A2 SEPv3 tanks (plus ammunition, spare parts, training, and logistical vehicles) on April 6, 2022.


title: Polish Land Forces

text: For air and missile defense, acquisitions of Poprad Anti-Air missile systems - which covers very short range air defense (VSHORAD) - are in their final stages. Legacy systems will be replaced through the "Wisla" and "Narew" procurement programs. The "Wisla" program will procure medium range air defense platforms and is being fulfilled through the acquisition of 2 Patriot air and missile defense batteries integrated with IBCS (delivery scheduled for late 2022), with plans to order six further batteries. The "Narew" program covers short range air defense (SHORAD) and is in its final stages of design selection and contract assignment. Considerable involvement of Polish defense contractors is being planned. After the invasion of Ukraine, Poland ordered 1 battery of the Common Anti-Air Modular Missile (CAMM) short-range air defense system from the UK as a short-term stop-gap, with plans to eventually acquire 23 batteries for the NAREW program.


title: Polish Land Forces

text: The Polish army has 863 new KTO Rosomak multi-role wheeled armored personnel carriers. They will be combined with new infantry fighting vehicle. The gradual replacement of older BWP-1 with this particular new design is to start from 2023 onward (prototypes are currently being tested).


title: Polish Land Forces

text: New rifles (FB MSBS Grot) and pistols (Vis-100) are being brought into service to supplement current FB Beryl rifles as well as to replace FB P-83 Wanad pistols and AKM rifles. A new Individual Warfare System "Tytan" (Titan) is being developed to integrate combat systems designed for individual soldiers and includes a personal computer, new protective uniform, modular body armor, night vision devices, advanced communication system, etc.


title: Polish Land Forces

text: To modernize its artillery, Poland has purchased several systems including the WR-40 Langusta rocket launchers equipped with state-of-the-art Topaz fire control. In 2019 the Ministry of Military Affairs ordered twenty M142 HIMARS launchers plus support vehicles. 122 new self-propelled NATO-compatible tracked AHS Krab gun-howitzers will replace the 2S1 Goździk, and new wheeled AHS Kryl howitzers will replace the wz. 1977 Dana. Deliveries of 122 M120K Rak mortars have been ongoing since 2017, plus 60 command vehicles (based on the KTO Rosomak fighting platform) and support vehicles. New technical recognition vehicles, the Rosomak WRT, began entering into service after 2016.


title: Bell Bottom (2021 film)

text: Bell Bottom is a 2021 Indian Hindi-language action thriller film directed by Ranjit M. Tewari. The film is written by Aseem Arrora and Parveez Sheikh, with production by Vashu Bhagnani, Jackky Bhagnani, Deepshikha Deshmukh and Nikkhil Advani under their respective banners Pooja Entertainment and Emmay Entertainment. It stars Akshay Kumar as the lead character, with Vaani Kapoor, Lara Dutta and Huma Qureshi in an extended cameo appearance. Bell Bottom is inspired from real life hijacking events in India by Khalistani terrorists during the 1980s, such as the Indian Airlines Flight 423, 405 and 421 hijackings.


title: Bell Bottom (2021 film)

text: Principal photography began on 20 August 2020. The film was wrapped up on 30 September in London. The film released in theatres on 19 August 2021 in 3D. The film received mixed reviews from critics, with praise for Kumar’s and Dutta’s performance, art direction, fast paced narration, screenplay, background music & cinematography but criticism for the low quality VFX shots in action sequences and weak climax, following which it became a major commercial failure.


title: Bell Bottom (2021 film)

text: This film faced commercial failure due to second wave COVID 19 lockdown again across various states. It was the first film that was released in the multiplex after 6 months of continued lockdown.


title: Bell Bottom (2021 film)

text: In 1984, Indian Airlines Flight 691 (resembling Indian Airlines Flight 421) is hijacked, the seventh such hijacking in India in five years, with all the previous ones ending in acquiescence to the hijackers' demands that other terrorists be freed and money be delivered. During her briefing, Prime Minister Indira Gandhi, frustrated at the lack of action taken on the matter, decides to allow a RAW agent code-named "Bell Bottom" to handle the case. As a "mere" clerk, he is already viewed with consternation by the other officials, and his deduction that the alleged masterminds, a Khalistan separatist group named "Azaadi Dal" (), are merely a front for Pakistan's ISI are rebuffed by them due to improving Indo-Pakistani relations. After the plane lands in Amritsar when he predicted it would land in Lahore, he is dismissed. However, his supervisor points out that he is an expert on hijackings and is motivated by personal experience.


title: Bell Bottom (2021 film)

text: In 1979, polymath Anshul Malhotra lives with his mother Raavi, an asthmatic who constantly visits his brother in London, and his wife Radhika. Her flight is hijacked by terrorists, but then-PM Morarji Desai and Pakistani President Muhammad Zia-ul-Haq negotiate and fulfill the hijackers demands in exchange for the hostages' release. However, Raavi dies, reportedly due to natural causes. Soon after, though, Anshul is abducted by RAW, who reveal that one of the hijackers, Daljeet "Doddy" Singh, had purposely withheld her inhaler, pusher her into the galley and thrown heavy blankets on her, increasing her suffering as she died. Anshul is given the offer to join RAW; he accepts and takes on the code-name Bell Bottom, with his cover to his wife being that he is an embassy officer. After his training, which showcases his extraordinary memory and improves his previously subpar physical skills, he is assigned to the hijacking desk. In 1983, he finds one of the hijackers while visiting his brother in London and tracks them; he raids their house with other RAW agents and captures three of them but the fourth, Doddy Singh, escapes.


title: Bell Bottom (2021 film)

text: Back in the present, the plane takes off from Amritsar and lands in Lahore, prompting Gandhi to order Anshul back in. He convinces her to "break script" and disallow the Pakistani side to send their negotiating team, and orders them not to refuel the plane. In response, Zia sends his minister to keep track of the situation. In Lahore, the minister replaces the hijacker with Doddy and supplies weapons and explosives. Correctly figuring that they will go to the Middle East to take advantage of their naivety in aerial terrorism, Anshul prepares for a covert operation in Dubai against the Indian ministers' wishes. Meanwhile, the Pakistani minister goes to Dubai to observe what is going on and guide Doddy.


title: Bell Bottom (2021 film)

text: Upon arrival, Anshul and his team, disguised as diplomatic aides, meet up with a contact in the Dubai airport, where they see Dubai's emphasis on humanitarianism and avoidance of bloodshed. Their first plan, covertly entering the aircraft and disarming the hijackers, is foiled when the Pakistani minister notices and closes the luggage door. Anshul's "plan B", sending in the Indian army, is also curtailed when the Dubai officials are notified and the ship they are on is denied entry. With all avenues cut off, the ministers go to negiotate; although they agree to the terrorists' demands of money, more terrorist releases, and a charter flight to London for freedom, they are surprised at the terrorists extreme inhumanity and one of them is taken hostage as a "VIP" target to be held until they get to London. Seemingly out of options, Anshul asks their airport contact to take them to an under-construction terminal so they can view the proceedings; however this is a ruse as Anshul reveals his knowledge of the contact's betrayal and ties her up. Disguising themselves as airport workers, they take advantage of a sandstorm to get on the field, free the VIPs, and capture the terrorists, redirecting the charter flight to India. The leader of Dubai denies them take off clearance at first, but after Anshul explains how their methods fit in with Dubai's humanism, he grants it. In India, the terrorists are booked, with Zia and the ISI leaders huffing in disgrace, and the flight is returned, with all on board safe and sound and reunited with their families. In the end, it is revealed that Radhika was actually working for RAW and had informed them of her husband's abilities and background in the first place.


title: Bell Bottom (2021 film)

text: The film was officially announced in November 2019. Subjected on true events, "Bell Bottom" is set during 1980s about some unforgettable heroes of the era. It became the first film to begin shooting post COVID-19 pandemic in India. Principal photography was completed in a one-shot schedule from 20 August to 30 September 2020 in Glasgow, Scotland and London.


title: Bell Bottom (2021 film)

text: The film was initially set for theatrical release on 22 January 2021 but got later shifted to 2 April, then 28 May and later 27 July 2021 but faced delays due to the COVID-19 pandemic. Post the second wave of the pandemic, it was the first film to release theatrically without Maharashtra cinemas that were closed at that time. The film released on 19 August 2021 in 3D. It was released on Amazon Prime Video on 16 September, and in Maharashtra cinemas on 22 October 2021.


title: Bell Bottom (2021 film)

text: The film score is composed by Daniel B. George while Julius Packiam composed the trailer score. The songs featured in the film are composed by Amaal Mallik, Tanishk Bagchi, Shantanu Dutta, Gurnazar and Maninder Buttar while lyrics are written by Rashmi Virag, Tanishk Bagchi, Babbu Maan, Maninder Buttar, Seema Saini and Gurnazar.


title: Bell Bottom (2021 film)

text: "Bell Bottom" earned 2.75 crore at the domestic box office on its opening day. On the second day, the film collected 8.60 crore. On the third day, the film collected 3 crore. On the fourth day, the film collected 36.40 crore, taking total opening weekend domestic collection to 52.75 crore.


title: Bell Bottom (2021 film)

text: As of 1 October 2021, The film grossed 36.46 crore in India and 14.12 crore overseas, the film has a worldwide gross collection of 50.58 crore.


title: Bell Bottom (2021 film)

text: Suchin Mehrotra writing for "Film Companion" criticised the screenplay of the movie saying that “in the end, somewhere buried within Bell Bottom are the building blocks of a great thriller. It’s just shrouded in simplistic storytelling and ‘hijacked’ by the pressures of the big Hindi movie formula.” Monika Rawal Kukreja of "The Hindustan Times" praised the film for being an edge-of-the-seat thriller.


title: Bell Bottom (2021 film)

text: The film was banned in three Gulf countries, namely Saudi Arabia, Kuwait and Qatar. The film certification authorities banned it on grounds of tampering with historical facts. It was pointed out that the 1984 incident actually had the United Arab Emirates Defence Minister Mohammed bin Rashid Al Maktoum and the UAE authorities getting the hijackers, while the film portrayed Kumar's character and his team as the real heroes of the mission.


title: Strauss–Howe generational theory

text: The Strauss–Howe generational theory, devised by William Strauss and Neil Howe, describes a theorized recurring generation cycle in American history and Western history. According to the theory, historical events are associated with recurring generational personas (archetypes). Each generational persona unleashes a new era (called a turning) lasting around 20–25 years, in which a new social, political, and economic climate (mood) exists. They are part of a larger cyclical "saeculum" (a long human life, which usually spans between 80 and 100 years, although some "saecula" have lasted longer). The theory states that a crisis recurs in American history after every saeculum, which is followed by a recovery (high). During this recovery, institutions and communitarian values are strong. Ultimately, succeeding generational archetypes attack and weaken institutions in the name of autonomy and individualism, which eventually creates a tumultuous political environment that ripens conditions for another crisis.


title: Strauss–Howe generational theory

text: Strauss and Howe laid the groundwork for their theory in their book "Generations" (1991), which discusses the history of the United States as a series of generational biographies going back to 1584. In their book "The Fourth Turning" (1997), the authors expanded the theory to focus on a fourfold cycle of generational types and recurring mood eras to describe the history of the United States, including the Thirteen Colonies and their British antecedents. However, the authors have also examined generational trends elsewhere in the world and described similar cycles in several developed countries.


title: Strauss–Howe generational theory

text: Academic response to the theory has been mixed, with some applauding Strauss and Howe for their "bold and imaginative thesis", while others have criticized the theory as being overly deterministic, unfalsifiable, and unsupported by rigorous evidence. Former U.S. Vice President Al Gore, who graduated from Harvard University with Strauss, called "Generations: The History of America's Future, 1584 to 2069" the most stimulating book on American history he'd ever read. He even sent a copy to each member of Congress. The theory has been influential in the fields of generational studies, marketing, and business management literature. Strauss–Howe generational theory has also been described by some historians and journalists as pseudoscientific, "kooky", and "an elaborate historical horoscope that will never withstand scholarly scrutiny". Academic criticism has focused on the lack of rigorous empirical evidence for their claims, as well as the authors' view that generational groupings are more powerful than other social groupings, such as economic class, race, sex, religion, and political parties.


title: Strauss–Howe generational theory

text: William Strauss and Neil Howe's partnership began in the late 1980s when they began writing their first book "Generations", which discusses the history of the United States as a succession of generational biographies. Each had written on generational topics: Strauss on Baby Boomers and the Vietnam War draft, and Howe on the G.I. Generation and federal entitlement programs. Strauss co-wrote two books with Lawrence Baskir about how the Vietnam War affected the Baby Boomers ("Chance and Circumstance: The Draft, the War, and the Vietnam Generation" (1978) and "Reconciliation after Vietnam" (1977)). Neil Howe studied what he believed to be the US's entitlement attitude of the 1980s and co-authored "On Borrowed Time: How the Growth in Entitlement Spending Threatens America's Future" in 1988 with Peter George Peterson. The authors' interest in generations as a broader topic emerged after they met in Washington, D.C., and began discussing the connections between each of their previous works.


title: Strauss–Howe generational theory

text: They wondered why Boomers and G.I.s had developed such different ways of looking at the world, and what it was about these generations' experiences growing up that prompted their different outlooks. They also wondered whether any previous generations had acted along similar lines, and their research discussed historical analogues to the current generations. They ultimately described a recurring pattern in the Anglo-American history of four generational types, each with a distinct collective persona, and a corresponding cycle of four different types of era, each with a distinct mood. The groundwork for this theory was laid out in "Generations" in 1991. Strauss and Howe expanded on their theory and updated the terminology in "The Fourth Turning" in 1997. "Generations" helped popularize the idea that people in a particular age group tend to share a distinct set of beliefs, attitudes, values, and behaviors because they all grow up and come of age during a particular period in history.


title: Strauss–Howe generational theory

text: In "Generations" (1991) and "The Fourth Turning" (1997), they discussed the generation gap between Baby Boomers and their parents and predicted there would be no such gap between Millennials and their elders. In 2000, they published "Millennials Rising". A 2000 "New York Times" book review for this book titled: "What's the Matter With Kids Today? Not a Thing", described the message of "Millennials Rising" as "we boomers are raising a cohort of kids who are smarter, more industrious and better behaved than any generation before", saying the book complimented the Baby Boomer cohort by complimenting their parenting skills.


title: Strauss–Howe generational theory

text: In the mid-1990s, the authors began receiving inquiries about how their research could be applied to strategic problems in organizations. They established themselves as pioneers in a growing field and started speaking frequently about their work at events and conferences. In 1999, they founded LifeCourse Associates, a publishing, speaking, and consulting company built on their generational theory. They have also written six books in which they assert that the Millennial Generation is transforming various sectors, including schools, colleges, entertainment, and the workplace.


title: Strauss–Howe generational theory

text: On December 18, 2007, William Strauss died at the age of 60 from pancreatic cancer. Neil Howe continues to expand LifeCourse Associates and to write books and articles on a variety of generational topics. Each year Mr. Howe gives about 60 speeches, often followed by customized workshops, at colleges, elementary schools, and corporations. Neil Howe is a public policy adviser to the Blackstone Group, senior adviser to the Concord Coalition, and senior associate to the Center for Strategic and International Studies.


title: Strauss–Howe generational theory

text: Steve Bannon, former Chief Strategist and Senior Counselor to President Trump is a prominent proponent of the theory. As a documentary filmmaker, Bannon discussed the details of Strauss–Howe generational theory in "Generation Zero". According to historian David Kaiser, who was consulted for the film, "Generation Zero" "focused on the key aspect of their theory, the idea that every 80 years of American history has been marked by a crisis, or 'fourth turning', that destroyed an old order and created a new one". Kaiser said Bannon is "very familiar with Strauss and Howe's theory of crisis, and has been thinking about how to use it to achieve particular goals for quite a while." A February 2017 article from "Business Insider" titled: "Steve Bannon's obsession with a dark theory of history should be worrisome", commented: "Bannon seems to be trying to bring about the 'Fourth Turning'."


title: Strauss–Howe generational theory

text: Strauss and Howe's theory provided historical information regarding living and past generations and made various predictions. Many of their predictions were regarding the Millennial Generation, who were young children when they began their work, thus lacking significant historical data. In their first book "Generations" (1991), Strauss and Howe describe the history of the US as a succession of Anglo-American generational biographies from 1584 to the present, and they describe a theorized recurring generational cycle in American history. The authors posit a pattern of four repeating phases, generational types, and a recurring cycle of spiritual awakenings and secular crises, from the founding colonials of America through the present day.


title: Strauss–Howe generational theory

text: Strauss and Howe followed in 1993 with their second book "13th Gen: Abort, Retry, Ignore, Fail?", which was published while Gen Xers were young adults. The book examines the generation born between 1961 and 1981, "Gen-Xers" (which they called "13ers", describing them as the thirteenth generation since the US became a nation). The book asserts that 13ers' location in history as under-protected children during the Consciousness Revolution explains their pragmatic attitude. They describe Gen Xers as growing up during a time when society was less focused on children and more focused on adults and their self-actualization.


title: Strauss–Howe generational theory

text: In 1997, the authors published "The Fourth Turning: An American Prophecy," which expanded on the ideas presented in "Generations" and extended their cycles back into the early 15th century. The authors began the use of more colorful names for generational archetypes - e.g. "Civics" became "Heroes" (which they applied to the Millennial Generation), "Adaptives" became "Artists" - and of the terms "Turning" and "Saeculum" for the generational cycles. The title is a reference to their first book called a Crisis period, which they expected to recur soon after the turn of the millennium.


title: Strauss–Howe generational theory

text: In 2000, the two authors published "Millennials Rising: The Next Great Generation". This work discussed the personality of the Millennial Generation, whose oldest members were described as the high school graduating class of the year 2000. In this 2000 book, Strauss and Howe asserted that Millennial teens and young adults were recasting the image of youth from "downbeat and alienated to upbeat and engaged". They credited increased parental attention and protection for these positive changes. They asserted Millennials are held to higher standards than adults apply to themselves and that they are a lot less vulgar and violent than the teen culture older people produce for them. They described them as less sexually charged and as ushering in a new sexual modesty, with an increasing belief that sex should be saved for marriage and a return to conservative family values. They predicted that over the following decade, Millennials would transform what it means to be young. According to the authors, Millennials could emerge as the next "Great Generation". The book was described as an optimistic, feel-good book for the parents of the Millennial Generation, predominantly the Baby Boomers.


title: Strauss–Howe generational theory

text: Strauss and Howe define a social generation as the aggregate of all people born over a span of roughly twenty years or about the length of one phase of life: childhood, young adulthood, midlife, and old age. Generations are identified (from the first birthyear to last) by looking for cohort groups of this length that share three criteria. First, members of a generation share what the authors call an "age location in history": they encounter key historical events and social trends while occupying the same phase of life. In this view, members of a generation are shaped in lasting ways by the eras they encounter as children and young adults and they share certain common "beliefs and behaviors". Aware of the experiences and traits that they share with their peers, members of a generation would also share a sense of common "perceived membership" in that generation.


title: Strauss–Howe generational theory

text: They based their definition of a generation on the work of various writers and social thinkers, from ancient writers such as Polybius and Ibn Khaldun to modern social theorists such as José Ortega y Gasset, Karl Mannheim, John Stuart Mill, Émile Littré, Auguste Comte, and François Mentré.


title: Strauss–Howe generational theory

text: While writing "Generations", Strauss and Howe described a theorized pattern in the historical generations they examined, which they say revolved around generational events which they call turnings. In "Generations", and in greater detail in "The Fourth Turning", they describe a four-stage cycle of social or mood eras which they call "turnings". The turnings include: "The High", "The Awakening", "The Unraveling" and "The Crisis".


title: Strauss–Howe generational theory

text: According to Strauss and Howe, the First Turning is a "High", which occurs after a Crisis. During "The High," institutions are strong and individualism is weak. Society is confident about where it wants to go collectively, though those outside the majoritarian center often feel stifled by conformity.


title: Strauss–Howe generational theory

text: According to the authors, the most recent First Turning in the US was the post–World War II American High, beginning in 1946 and ending with the assassination of John F. Kennedy on November 22, 1963.


title: Strauss–Howe generational theory

text: According to the theory, the Second Turning is an "Awakening". This is an era when institutions are attacked in the name of personal and spiritual autonomy. Just when society is reaching its high tide of public progress, people suddenly tire of social discipline and want to recapture a sense of "self-awareness", "spirituality" and "personal authenticity". Young activists look back at the previous High as an era of cultural and spiritual poverty.


title: Strauss–Howe generational theory

text: Strauss & Howe say the US's most recent Awakening was the "Consciousness Revolution," which spanned from the campus and inner-city revolts of the mid-1960s to the tax revolts of the early 1980s.


title: Strauss–Howe generational theory

text: According to Strauss and Howe, the Third Turning is an "Unraveling". The mood of this era they say is in many ways the opposite of a High: Institutions are weak and distrusted, while individualism is strong and flourishing. The authors say Highs come after Crises when society wants to coalesce and build and avoid the death and destruction of the previous crisis. Unravelings come after Awakenings when society wants to atomize and enjoy. They say the most recent Unraveling in the US began in the 1980s and includes the Long Boom and Culture War.


title: Strauss–Howe generational theory

text: According to the authors, the Fourth Turning is a "Crisis". This is an era of destruction, often involving war or revolution, in which institutional life is destroyed and rebuilt in response to a perceived threat to the nation's survival. After the crisis, civic authority revives, cultural expression redirects toward community purpose, and people begin to locate themselves as members of a larger group.


title: Strauss–Howe generational theory

text: The authors say the previous Fourth Turning in the US began with the Wall Street Crash of 1929 and climaxed with the end of World War II. The G.I. Generation (which they call a Hero archetype, born 1901 to 1924) came of age during this era. They say their confidence, optimism, and collective outlook epitomized the mood of that era. The authors assert the Millennial Generation (which they also describe as a Hero archetype, born 1982 to 2004) shows many similar traits to those of the G.I. youth, which they describe as including rising civic engagement, improving behavior, and collective confidence.


title: Strauss–Howe generational theory

text: The authors describe each turning as lasting about 20–22 years. Four turnings make up a full cycle of about 80 to 90 years, which the authors term a "saeculum", after the Latin word meaning both "a long human life" and "a natural century".


title: Strauss–Howe generational theory

text: Generational change drives the cycle of turnings and determines its periodicity. As each generation ages into the next life phase (and a new social role) society's mood and behavior fundamentally change, giving rise to a new turning. Therefore, a symbiotic relationship exists between historical events and generational personas. Historical events shape generations in childhood and young adulthood; then, as parents and leaders in midlife and old age, generations in turn shape history.


title: Strauss–Howe generational theory

text: Each of the four turnings has a distinct mood that recurs every saeculum. Strauss and Howe describe these turnings as the "seasons of history". At one extreme is the Awakening, which is analogous to summer, and at the other extreme is the Crisis, which is analogous to winter. The turnings in between are transitional seasons, the High and the Unraveling are similar to spring and autumn, respectively. Strauss and Howe have discussed 26 theorized turnings over 7 saecula in Anglo-American history, from the year 1435 through today.


title: Strauss–Howe generational theory

text: At the heart of Strauss & Howe's ideas is a basic alternation between two different types of eras, Crises and Awakenings. Both of these are defining eras in which people observe that historic events are radically altering their social environment. Crises are periods marked by major secular upheaval, when society focuses on reorganizing the outer world of institutions and public behavior (they say the last American Crisis was the period spanning the Great Depression and World War II). Awakenings are periods marked by cultural or religious renewal when society focuses on changing the inner world of values and private behavior (the last American Awakening was the "Consciousness Revolution" of the 1960s and 1970s).


title: Strauss–Howe generational theory

text: During Crises, great peril provokes a societal consensus, an ethic of personal sacrifice, and strong institutional order. During Awakenings, an ethic of individualism emerges, and the institutional order is attacked by new social ideals and spiritual agendas. According to the authors, about every eighty to ninety years—the length of a long human life—a national Crisis occurs in American society. Roughly halfway to the next Crisis, a cultural Awakening occurs (historically, these have often been called Great Awakenings).


title: Strauss–Howe generational theory

text: In describing this cycle of Crises and Awakenings, they draw from the work of other historians and social scientists who have also discussed long cycles in American and Europe history. The cycle of Crises corresponds with long cycles of war identified by such scholars as Arnold J. Toynbee, Quincy Wright, and L. L. Ferrar Jr., and with geopolitical cycles identified by William R. Thompson and George Modelski. Strauss and Howe say their cycle of Awakenings corresponds with Anthony Wallace's work on revitalization movements; they also say recurring Crises and Awakenings correspond with two-stroke cycles in politics (Walter Dean Burnham, Arthur Schlesinger Sr. and Jr.), foreign affairs (Frank L. Klingberg), and the economy (Nikolai Kondratieff) as well as with long-term oscillations in crime and substance abuse.


title: Strauss–Howe generational theory

text: The authors say two different types of eras and two formative age locations associated with them (childhood and young adulthood) produce four generational "archetypes" that repeat sequentially, in rhythm with the cycle of Crises and Awakenings. In "Generations", they refer to these four archetypes as "Idealist, Reactive, Civic," and "Adaptive". In "The Fourth Turning" (1997) they change this terminology to "Prophet, Nomad, Hero," and "Artist". They say the generations in each archetype not only share a similar age-location in history, but they also share some basic attitudes towards family, risk, culture and values, and civic engagement. In essence, generations shaped by similar early-life experiences develop similar collective personas and follow similar life trajectories. To date, Strauss and Howe have described 25 generations in Anglo-American history, each with a corresponding archetype. The authors describe the archetypes as follows:


title: Strauss–Howe generational theory

text: "Prophet" (Idealist) generations enter childhood "during a High", a time of rejuvenated community life and consensus around a new societal order. Prophets grow up as the increasingly indulged children of this post-Crisis era, come of age as self-absorbed young crusaders of an Awakening, focus on morals and principles in midlife, and emerge as elders guiding another Crisis. Examples: Transcendental Generation, Missionary Generation, Baby Boomers.


title: Strauss–Howe generational theory

text: "Nomad" (Reactive) generations enter childhood "during an Awakening", a time of social ideals and spiritual agendas when young adults are passionately attacking the established institutional order. Nomads grow up as under-protected children during this Awakening, come of age as alienated, post-Awakening young adults, become pragmatic midlife leaders during a Crisis, and age into resilient post-Crisis elders. Examples: Gilded Generation, Lost Generation, Generation X.


title: Strauss–Howe generational theory

text: "Hero" (Civic) generations enter childhood "during an Unraveling", a time of individual pragmatism, self-reliance, and laissez-faire. Heroes grow up as increasingly protected post-Awakening children, come of age as team-oriented young optimists during a Crisis, emerge as energetic, overly confident mid-lifers, and age into politically powerful elders attacked by another Awakening. Examples: Republican Generation, G.I. Generation, Millennials.


title: Strauss–Howe generational theory

text: "Artist" (Adaptive) generations enter childhood "during a Crisis", a time when great dangers cut down social and political complexity in favor of public consensus, aggressive institutions, and an ethic of personal sacrifice. Artists grow up overprotected by adults preoccupied with the Crisis, come of age as the socialized and conformist young adults of a post-Crisis world, break out as process-oriented midlife leaders during an Awakening, and age into thoughtful post-Awakening elders. Examples: Progressive Generation, Silent Generation.


title: Strauss–Howe generational theory

text: The "Arthurian Generation" was born between 1433 and 1460 and is of the hero archetype. Members of the generation grew up during England's retreat from France, during an era of rising civil unrest.


title: Strauss–Howe generational theory

text: This generation came of age at the height of the Middle Ages, just prior to the Reformation and Renaissance. For the educated classes life was fairly static, with Renaissance Humanist teaching and a clear career path through the church or State bureaucracy becoming increasingly available for the educated middle classes. Humanist influences took hold across Europe, and in many ways prepared the intellectual landscape for the coming reformation. Their youth coincided with the development of the European Printing press allowing greater dissemination of knowledge.


title: Strauss–Howe generational theory

text: According to Strauss and Howe, those who constituted this generation had a sheltered childhood during a bloody civil war and were educated abroad, becoming Greek language tutors, international scholars, poets, prelates, and literate merchants and yeomen. The education produced by the humanist generation has been described as focused on the qualitative and the subjective, rather than the quantitative and the objective.


title: Strauss–Howe generational theory

text: Some of the notable persons who influenced this generation include Thomas More, Erasmus, Thomas Linacre, John Colet, Cardinal Wolsey, Michelangelo, Copernicus, Francisco Pizarro and Cesare Borgia. King Edward V was also born into this generation, but as he died at only 15 years old, it is difficult to properly place him in this archetype. However, according to the historian Dominic Mancini Edward was very fascinated with science and philosophy, and was very well learned beyond his years.


title: Strauss–Howe generational theory

text: The "Reformation Generation" generation was born between 1483 and 1511 and is of the prophet archetype. This generation rebelled as youths, prompting the first colleges in the 1520s.


title: Strauss–Howe generational theory

text: The "Reprisal Generation" was born between 1512 and 1540 and is of the nomad/reactive archetype. <q>They spent their childhood amid religious frenzy and widespread erosion of social authority—and came of age in a cynical, post-Awakening era of cut-throat politics and roller-coaster markets.</q> They crewed the ships during the wars of the Spanish Armada and saw the expansion of British territories and colonisation in the New World overseas.


title: Strauss–Howe generational theory

text: The "Elizabethan Generation" was born between 1541 and 1565 and is of the hero archetype. They benefited as children from explosive growth in academies intended to transform them into perfect people of civic achievement and teamwork. They came to age during the Anglo-Spanish War (1585-1604). They regulated commerce, explored overseas empires, built English country houses, pursued science, and wrote poetry that celebrated an orderly universe.


title: Strauss–Howe generational theory

text: The "Parliamentary Generation" was born between 1566 and 1587 and is of the artist archetype. Their childhoods took place during an era of foreign threats and war. They built impeccable credentials in law, scholarship, religion, and arts and crafts guilds.


title: Strauss–Howe generational theory

text: The "Puritan Generation" was born between 1588 and 1617 and is of the prophet archetype. Members of the generation were led through the Wars of the Three Kingdoms (1639-1651) by King Charles I and others led a large migration to the Americas. The generation was very religious.


title: Strauss–Howe generational theory

text: The "Cavalier Generation" was born from 1618 to 1647 and was of the nomad archetype. Members of this generation grew up in an era of religious upheaval and family collapse. Their generation was notoriously violent and uneducated, causing men to take great risks, and resulting in many young deaths.


title: Strauss–Howe generational theory

text: The "Glorious Generation" was born from 1648 to 1673 and was of the hero archetype. They had a protected childhood with tax-supported schools and new laws discouraging the kidnapping of young servants. After proving their worth in the Indian Wars and triumphing in the Glorious Revolution, they were rewarded with an electoral office at a young age. As young adults, they took pride in the growing political, commercial, and scientific achievements of England. They designed insurance, paper money, and public works.


title: Strauss–Howe generational theory

text: The "Enlightenment Generation"' was born between 1674 and 1700 and was of the artist archetype. They grew up as protected children when families were close, youth risk discouraged, and good educations and well-connected marriages highly prized. As adults, they provided America's first large cadre of credentialed professionals, political managers, and plantation administrators. Examples in Europe include George Frederic Handel, Antonio Vivaldi, Domenico Scarlatti, and Johann Sebastian Bach.


title: Strauss–Howe generational theory

text: The "Awakening Generation" was born between 1701 and 1723 and was of the prophet archetype. They were the first colonial generation to consist mostly of the offspring of native-born parents. As adults, they attacked their elders' moral complacency in a spiritual firestorm.


title: Strauss–Howe generational theory

text: Strauss and Howe define The Liberty Generation (nomad archetype) as those born between 1724 and 1741. George Washington and Patrick Henry were born during this period. Also born in this era were 35 out of the 56 signatories of the United States Declaration of Independence, including John Adams.


title: Strauss–Howe generational theory

text: The "Republican Generation" (hero archetype) was born between 1742 and 1766. This generation is known for participating in several global revolutionary movements during the Age of Revolution. This generation witnessed political turmoil in response to growing British imperialism, and the vast social inequalities exacerbated by ruthless competition between European Monarchists.


title: Strauss–Howe generational theory

text: They came of age during British imperialism and during a time when the viability of mercantilism was being questioned. Relying on Enlightenment philosophy, they unleashed violent episodes of revolution, vilified Monarchy, and promoted Republicanism. In colonial America, they participated in the American Revolutionary War, secured Independence from British rule, and established a libertarian system of governance, based on constitutional republicanism and representative democracy. Notable persons affiliated with this generation include the leading figures in the early years of the independent United States Thomas Jefferson, James Madison, James Monroe, and Alexander Hamilton as well as the leading figures of the French Revolution Maximilien Robespierre, Georges Danton and Camille Desmoulins.


title: Strauss–Howe generational theory

text: The "Compromise Generation" was born between 1767 and 1791 and was of the artist archetype. They "rocked in the cradle of the Revolution" as they watched brave adults struggle and triumph. Notable persons affiliated with this generation include Andrew Jackson, Napoleon Bonaparte and Simón Bolívar.


title: Strauss–Howe generational theory

text: The "Transcendental Generation" was born between 1792 and 1821 and was of the prophet archetype. They started the Second Great Awakening across the United States.


title: Strauss–Howe generational theory

text: Strauss and Howe define the "Gilded Generation" (nomad archetype) as those born from 1822 to 1842. They came of age amid rising national tempers, torrential immigration, rampant commercialism, conspicuous consumerism, declining college enrollment, and economic disputes. This led to a distrust of zealotry and institutional involvement, shifting focus to a life of materialism.. Most American Civil War soldiers were born during this period (the average age was 26).


title: Strauss–Howe generational theory

text: The "Progressive Generation" (hero and artist archetypes) was born from 1843 to 1859 and grew up or fought during the American Civil War.


title: Strauss–Howe generational theory

text: The "Missionary Generation" was born from 1860 to 1882 and is of the prophet/idealist archetype. Members of the Missionary Generation have been described as the "home-and-hearth children of the post-Civil War era". They were an idealist generation and as young adults, their leaders were famous preachers. Some were graduates of newly formed black and women's colleges. Their defining characteristics were missionary and social crusades: "Muckraker" journalism, prohibitionism, workers' rights, trade unionism and women's suffrage. In midlife, they developed Prohibition in the United States, immigration control, and organized vice squads.


title: Strauss–Howe generational theory

text: Because the Lost Generation were so decimated by World War I, the leadership of the Missionary Generation lasted longer than previous generations and in the 1930s and 1940s, their elite became the "Wise Old Men" who enacted a "New Deal", Social Security, led the global war against fascism, and reaffirmed America's highest ideals during a transformative era in world history. This generation is fully ancestral, with the last known member of the Missionary Generation, the American Sarah Knauss, having died on December 30, 1999, at 119 years of age.


title: Strauss–Howe generational theory

text: The "Lost Generation" (nomad archetype) is the generation that came of age during World War I. "Lost" in this context also means "disoriented, wandering, directionless"—a recognition that there was great confusion and aimlessness among the war's survivors in the early post-war years. Strauss and Howe define the cohort as individuals born between 1883 and 1900.


title: Strauss–Howe generational theory

text: The "Greatest Generation" (hero archetype), also known as the "G.I. Generation" and the "World War II generation", is the demographic cohort following the Lost Generation and preceding the Silent Generation. Strauss and Howe define the cohort as individuals born between 1901 and 1924. They were shaped by the Great Depression and were the primary participants in World War II.


title: Strauss–Howe generational theory

text: The "Silent Generation" (artist archetype) is the demographic cohort following the Greatest Generation and preceding the baby boomers. Strauss and Howe define the cohort as individuals born between 1925 and 1942.


title: Strauss–Howe generational theory

text: The authors argue that the basic length of both generations and turnings—about twenty years—derives from longstanding socially and biologically determined phases of life. This is the reason it has remained relatively constant over centuries. Some have argued that rapid increases in technology in recent decades are shortening the length of a generation. According to Strauss and Howe, however, this is not the case. As long as the transition to adulthood occurs around age 20, the transition to midlife around age 40, and the transition to old age around age 60, they say the basic length of both generations and turnings will remain the same.


title: Strauss–Howe generational theory

text: In their book, The Fourth Turning, however, Strauss and Howe say that the precise boundaries of generations and turnings are erratic. The generational rhythm is not like certain simple, inorganic cycles in physics or astronomy, where time and periodicity can be predicted to the second. Instead, it resembles the complex, organic cycles of biology, where basic intervals endure but precise timing is difficult to predict. Strauss and Howe compare the saecular rhythm to the four seasons, which they say similarly occur in the same order, but with slightly varying timing. Just as winter may come sooner or later, and be more or less severe in any given year, the same is true of a Fourth Turning in any given saeculum.


title: Strauss–Howe generational theory

text: The Strauss and Howe retelling of history through a generational lens has received mixed reviews. Many reviewers have praised the authors for their ambition, erudition, and accessibility. For example, former U.S. Vice President Al Gore, who graduated from Harvard University with Strauss, called "Generations: The History of America's Future, 1584 to 2069" the most stimulating book on American history he'd ever read. He even sent a copy to each member of Congress. The theory has been influential in the fields of generational studies, marketing, and business management literature. However, it has also been criticized by several historians and some political scientists, and journalists, as being overly deterministic, non-falsifiable, and unsupported by rigorous evidence.


title: Strauss–Howe generational theory

text: After the publication of their first book "Generations", Martin Keller a professor of history at Brandeis University, said that the authors "had done their homework". He said that their theory could be seen as pop sociology and that it would "come in for a lot more criticism as history. But it's almost always true that the broader you cast your net, the more holes it's going to have. And I admire [the authors'] boldness." Sociologist David Riesman and political scientist Richard Neustadt offered strong, if qualified, praise. Riesman found in the work an "impressive grasp of a great many theoretical and historical bits and pieces" and Neustadt said Strauss and Howe "are asking damned important questions, and I honor them."The Times Literary Supplement called it "fascinating" and "about as vague and plausible as astrological predictions". "Publishers Weekly" called it "as woolly as a newspaper horoscope".


title: Strauss–Howe generational theory

text: In 1991, Jonathan Alter wrote in "Newsweek" that "Generations" was a "provocative, erudite and engaging analysis of the rhythms of American life". However, he believed it was also "an elaborate historical horoscope that will never withstand scholarly scrutiny." He continued, "these sequential 'peer personalities' are often silly, but the book provides reams of fresh evidence that American history is indeed cyclical, as Arthur Schlesinger Jr. and others have long argued." But he complained, "The generational boundaries are plainly arbitrary. The authors lump together everyone born from 1943 through the end of 1960 (Baby Boomers), a group whose two extremes have little in common. And the predictions are facile and reckless." He concluded: "However fun and informative, the truth about generational generalizations is that they're generally unsatisfactory." Arthur E. Levine, a former president of the Teachers College of Columbia University said "Generational images are stereotypes. There are some differences that stand out, but there are more similarities between students of the past and the present. But if you wrote a book saying that, how interesting would it be?"


title: Strauss–Howe generational theory

text: In response to criticism that they stereotype or generalize all members of a generation, the authors have said, "We've never tried to say that any individual generation is going to be monochromatic. It'll obviously include all kinds of people. But as you look at generations as social units, we consider it to be at least as powerful and, in our view, far more powerful than other social groupings such as economic class, race, sex, religion, and political parties."


title: Strauss–Howe generational theory

text: Gerald Pershall wrote in 1991: ""Generations" is guaranteed to attract pop history and pop social science buffs. Among professional historians, it faces a tougher sell. Period specialists will resist the idea that their period is akin to several others. Sweeping theories of history are long out of fashion in the halls of ivy, and the authors' lack of academic standing won't help their cause. Their generational quartet is "just too wooden" and "too neat," says one Yale historian. "Prediction is for prophets," scoffed William McLoughlin (a former history professor at Brown), who said it is wrong to think that "if you put enough data together and have enough charts and graphs, you've made history into a science." He also said the book might get a friendlier reception in the sociology and political science departments than in the science department.


title: Strauss–Howe generational theory

text: In 1991, professor and "New York Times" writer Jay Dolan critiqued "Generations" for not talking more about class, race, and sex, to which Neil Howe replied that they "are probably generalizations not even as effective as a generation to say something about how people think and behave. One of the things to understand is that most historians never look at history in terms of generations. They prefer to tell history as a seamless row of 55-year-old leaders who always tend to think and behave the same way -- but they don't and they never have. If you look at the way America's 55-year-old leaders were acting in the 1960s -- you know, the ebullience and confidence of the JFKs and LBJs and Hubert Humphreys -- and compare them with today's leaders in Congress -- the indecision, the lack of sure-footedness -- I think you would have to agree that 55-year-olds do not always act the same way and you're dealing with powerful generational forces at work that explain why one generation of war veterans, war heroes, and another generation which came of age in very different circumstances tend to have very different instincts about acting in the world."


title: Strauss–Howe generational theory

text: Responding to criticisms in 1991, William Strauss accepted that some historians might not like their theory, which they presented as a new paradigm for looking at American history, that filled a need for a unifying vision of American history:


title: Strauss–Howe generational theory

text: In his review for the "Boston Globe", historian David Kaiser called "The Fourth Turning" "a provocative and immensely entertaining outline of American history, Strauss and Howe have taken a gamble". "If the United States calmly makes it to 2015, their work will end up in the ashcan of history, but if they are right, they will take their place among the great American prophets." Kaiser has since argued that Strauss and Howe's predictions of coming crisis seems to have occurred, citing events such as 9/11, the 2008 financial crisis, and the recent political gridlock.


title: Strauss–Howe generational theory

text: Kaiser has incorporated Strauss and Howe's theory in two historical works of his own, "American Tragedy: Kennedy, Johnson, and the Origins of the Vietnam War" (2000), and "No End Save Victory: How FDR Led the Nation into War" (2014). Michael Lind, a historian and co-founder of the New America Foundation, wrote that "The Fourth Turning" (1997) was vague and verged into the realm of "pseudoscience"; "most of the authors' predictions about the American future turn out to be as vague as those of fortune cookies". Lind said that the theory is essential "non-falsifiable" and "mystifying," although he believed the authors did have some insights into modern American history.


title: Strauss–Howe generational theory

text: For "The New York Times" in 2017, Pulitzer-winning journalist Jeremy Peters wrote that "many academic historians dismiss the book as about as scientific as astrology or a Nostradamus text."


title: Strauss–Howe generational theory

text: Sean Wilentz, an American history professor at Princeton University, said, "'It's just a conceit. It's a fiction, it's all made up,' Wilentz said about cyclical historical models. 'There's nothing to them. They're just inventions.'"


title: Strauss–Howe generational theory

text: In 1993, Andrew Leonard reviewed the book "13th Gen: Abort, Retry, Ignore, Fail?". He wrote "as the authors (Strauss and Howe) relentlessly attack the iniquitous 'child-abusive culture' of the 1960s and '70s and exult in heaping insult after insult on their own generation -- they caricature Baby Boomers as countercultural, long-haired, sex-obsessed hedonists -- their real agenda begins to surface. That agenda becomes clear in part of their wish list for how the 13th generation may influence the future: "13ers will reverse the frenzied and centrifugal cultural directions of their younger years. They will clean up entertainment, de-diversify the culture, reinvent core symbols of national unity, reaffirm rituals of family and neighborhood bonding, and re-erect barriers to cushion communities from unwanted upheaval."


title: Strauss–Howe generational theory

text: Again in 1993, writing for "The Globe and Mail", Jim Cormier reviewed the same book: "self-described boomers Howe and Strauss add no profound layer of analysis to previous pop press observations. But in cobbling together a more extensive overview of the problems and concerns of the group they call the 13ers, they've created a valuable primer for other fogeys who are feeling seriously out of touch." Cormier wrote that the authors "raised as many new questions as answers about the generation that doesn't want to be a generation. But at least they've made an honest, empathetic, and good-humoured effort to bridge the bitter gap between the twentysomethings and fortysomethings."


title: Strauss–Howe generational theory

text: In 1993, Charles Laurence at the "London Daily Telegraph" wrote that, in "13th Gen," Strauss and Howe offered this youth generation "a relatively neutral definition as the 13th American generation from the Founding Fathers,". According to Alexander Ferron's review in "Eye Magazine," ""13th Gen" is best read as the work of two top-level historians. While its agenda is the 13th generation, it can also be seen as an incredibly well-written and exhaustive history of America from 1960 to 1981--examining the era through everything except the traditional historical subjects (war, politics, famine, etc)."


title: Strauss–Howe generational theory

text: In 2011, Jon D. Miller, at the Longitudinal Study of American Youth, funded by the National Science Foundation, wrote that their birth year definition (1961 to 1981) of "Generation X" ("13th Gen") has been widely used in popular and academic literature.


title: Strauss–Howe generational theory

text: David Brooks reviewed the follow-up book about the next generation titled "Millennials Rising" (2000). "Millennials" is a term coined by Strauss and Howe. Brooks wrote: "This is not a good book, if by good you mean the kind of book in which the authors have rigorously sifted the evidence and carefully supported their assertions with data. But it is a very good bad book. It's stuffed with interesting nuggets. It's brightly written. And if you get away from the generational mumbo jumbo, it illuminates changes that really do seem to be taking place." Further, Brooks wrote that the generations aren't treated equally: "Basically, it sounds as if America has two greatest generations at either end of the age scale and two crummiest in the middle".


title: Strauss–Howe generational theory

text: In 2001, reviewer Dina Gomez wrote in "NEA Today" that they make their case "convincingly," with "intriguing analysis of popular culture" but conceded that it "over-generalizes". Gomez argued that it is "hard to resist its hopeful vision for our children and future."


title: Strauss–Howe generational theory

text: "Millennials Rising" ascribes seven "core traits" to Millennials: special, sheltered, confident, team-oriented, conventional, pressured, and achieving. A 2009, "Chronicle of Higher Education" report commented Howe and Strauss based these core traits on a "hodgepodge of anecdotes, statistics, and pop-culture references" and on surveys of approximately 600 high-school seniors from Fairfax County, Virginia, an affluent county with median household income approximately twice the national average. The report described "Millennials Rising" as a "good-news revolution" making "sweeping predictions" and describing Millennials as "rule followers who were engaged, optimistic, and downright pleasant", commenting the "book gave educators and tens of millions of parents, a warm feeling, saying who wouldn't want to hear that their kids are special?"


title: Strauss–Howe generational theory

text: In 2006, Frank Giancola wrote an article in "Human Resource Planning" that stated "the emphasis on generational differences is not generally borne out by empirical research, despite its popularity".


title: Strauss–Howe generational theory

text: In 2016 an article was published that explains the differences in generations, observed with the employer's position, through the development of working conditions, initiated by the employer. This development is due to the competition of firms on the job market for receiving more highly skilled workers. New working conditions as a product on the market have a classic product life-cycle and when they become widespread standard expectations of employees change accordingly.


title: Strauss–Howe generational theory

text: One criticism of Strauss and Howe's theory and generational studies is that conclusions are overly broad and do not reflect the reality of every person in each generation regardless of their race, color, national origin, religion, sex, age, disability, or genetic information. For example, Hoover cited the case of Millennials by writing that "commentators have tended to slap the Millennial label on white, affluent teenagers who accomplish great things as they grow up in the suburbs, who confront anxiety when applying to super-selective colleges, and who multitask with ease as their helicopter parents hover reassuringly above them. The label tends not to appear in renderings of teenagers who happen to be minorities, poor, or who have never won a spelling bee. Nor does the term often refer to students from big cities and small towns that are nothing like Fairfax County, Va., or who lack technological know-how. Or who struggle to complete high school. Or who never even consider college. Or who commit crimes. Or who suffer from too little parental support. Or who drop out of college. Aren't they Millennials too?"


title: Strauss–Howe generational theory

text: In their 2000 book "Millennials Rising" they brought attention to the Millennial children of immigrants in the United States, "who face daunting challenges." They wrote "one-third have no health insurance, live below the poverty line and live in overcrowded housing".


title: Strauss–Howe generational theory

text: In a February 2017 article from "Quartz" two journalists commented on the theory saying: "it is too vague to be proven wrong, and has not been taken seriously by most professional historians. But it is superficially compelling, and plots out to some degree how America's history has unfolded since its founding".


title: Strauss–Howe generational theory

text: In an April 2017 article from "Politico", David Greenberg, a professor of history and media studies at Rutgers University, described Strauss–Howe generational theory as "crackpot theories".


title: Strauss–Howe generational theory

text: Peter Turchin, a scientist and specialist in the fields of cultural evolution, cliodynamics and structural-demographic theory has criticised Strauss–Howe generational theory, stating that it is not a scientific theory and that it is more akin to a prophecy since it "forces the historical record to fit a postulated cycle by stretching in some places and cutting off a bit here and there in others".


title: Strauss–Howe generational theory

text: American electronic musician Oneohtrix Point Never was inspired by "The Fourth Turning" for the concept of his 2018 album "Age Of" and its accompanying performance installation "MYRIAD".


title: Strauss–Howe generational theory

text: Will Arbery's play "Heroes of the Fourth Turning", first produced at New York's Playwrights Horizons in 2019, is inspired by the theories of Strauss and Howe, and the character Teresa is a vocal proponent of them.


title: Strauss–Howe generational theory

text: The 2022 Netflix series "The Watcher" features a scene citing postulations from "The Fourth Turning".


title: Brendan Hunt

text: Brendan Hunt is an American actor and writer known for roles in the films "We're the Millers" (2013) and "Horrible Bosses 2" (2014) as well as voicing two characters in the video game "Fallout 4" (2015). He is a co-creator of the Apple TV+ sitcom "Ted Lasso," as well as a writer and regular cast member (Coach Beard).


title: Brendan Hunt

text: In 1996, Hunt completed the theater program at Illinois State University. While there, he performed at the Illinois Shakespeare Festival and completed a week-long master class under the guidance of actress Judith Ivey.


title: Brendan Hunt

text: After getting his theater degree, Hunt studied with The Second City in Chicago before heading to Amsterdam and joining the Boom Chicago comedy troupe.


title: Brendan Hunt

text: From 1998 to 2008, Hunt was a regular writer and performer with the Boom Chicago comedy and improvisational troupe. Hunt was the head writer and featured in the Comedy Central (Netherlands) satirical news program Comedy Central News (CCN) that was produced by Boom Chicago. While with the group, Hunt performed alongside Jason Sudeikis ("Horrible Bosses", "We're the Millers", "Saturday Night Live"), Jordan Peele ("Key and Peele") and Seth Meyers ("Late Night with Seth Meyers", "Saturday Night Live").


title: Brendan Hunt

text: While Boom Chicago was based in Amsterdam, they embarked on a "comedy exchange" with The Second City performing at their Chicago, Illinois theater in 2003. The Chicago Tribune noted Hunt's performance as soccer star Roy Keane, calling it the "best character of the night."


title: Brendan Hunt

text: While with Boom, Hunt co-wrote and co-starred in a pair of two-man shows at Edinburgh Festival Fringe: "Iconic Yanks" with Meyers and "Here Comes the Neighborhood" with Peele.


title: Brendan Hunt

text: After returning to the United States, Hunt developed a one-man show based on his time in the Netherlands called "Five Years in Amsterdam".


title: Brendan Hunt

text: In the performance, Hunt takes a comedic and touching look back at five years living in Europe as an American. Among topics examined are relationships, drug excesses, experiences at a fetish club and his feelings about the Match of the Day anthem and Alan Hansen. He also recounts a rough childhood with "an absent father" and an alcoholic mother.


title: Brendan Hunt

text: In its review, The Stage said of the show, "each drop of comedy gold is lovingly extracted in a superbly crafted, unflinchingly honest and enormously enjoyable whole" and called it a "must see" at the Edinburgh Festival Fringe.


title: Brendan Hunt

text: Hunt performed the play at the 2007 edition of The Comedy Festival in Aspen, Colorado. and also took the show on the road to The Second City in Chicago, Upright Citizens Brigade in New York City and iO West in Los Angeles.


title: Brendan Hunt

text: In 2007, Hunt joined the Sacred Fools Theater Company. Hunt's time at Sacred Fools included a turn as the lead in the musical "Savin' Up for Saturday Night" that proved to be an Ovation Awards-winning role. Hunt won Lead Actor in a Musical at the 2010 Ovation Awards.


title: Brendan Hunt

text: In 2013, Hunt wrote and was the lead actor in a dark comedy parody of the Charlie Brown "Peanuts" comic strip called "Absolutely Filthy". The play has won multiple awards in both Los Angeles and New York.


title: Brendan Hunt

text: Hunt based his lead character, The Mess, on an older version of the character of Pig-Pen, who is now homeless and trying to cope with his recent breakup from The Bereaved, who is based on the "Peanuts" character Sally Brown. The setting of the play is a reunion of the old gang during the funeral of The Deceased (a version of Charlie Brown). For legal reasons, the characters were given abstract names in the program of the show, though the characters are referred to by their familiar "Peanuts" names on stage.


title: Brendan Hunt

text: To illustrate his cloud of dust, Hunt keeps a Hula Hoop in constant motion around his body throughout the show.


title: Brendan Hunt

text: Hunt came up with the idea of the play while dancing alone during the Burning Man festival with the resulting kick-up of dust in the sunrise reminding him of Pig-Pen. The play was originally created as a series of 10-minute sketches for the Sacred Fools Theater Company as part of its "Serial Killers" late-night series. Hunt was asked to turn the sketches into a single play.


title: Brendan Hunt

text: The play has received overwhelmingly favorable reviews, with "The New York Observer" saying it creates an "endorphin high that accompanies laughing until your eyes water." The LA Weekly gave accolades for Hunt's performance, saying he "steals the show.".


title: Brendan Hunt

text: Hunt and the play also won several awards. The 2013 Hollywood Fringe Festival named "Absolutely Filthy" as "Top of the Fringe" and Best Comedy. At the 2014 FringeNYC, the play won three awards that included an acting award for Hunt as well as prizes for overall play and TheaterMania audience favorite. Hunt was nominated in four categories in the 2014 LA Weekly Theater Awards, winning the top prize in the categories of Best Male Performance and Comedy Ensemble.


title: Brendan Hunt

text: After roles in episodes of the television series "Reno 911!", "Parks and Recreation", "Community" and "How I Met Your Mother", Hunt made his major motion picture debut as the "Sketchy Dude" in 2013's "We're the Millers", which featured his Boom Chicago castmate Jason Sudeikis.


title: Brendan Hunt

text: Hunt had a role in another Sudeikis vehicle, 2014's "Horrible Bosses 2", playing a sex addiction group member.


title: Brendan Hunt

text: An Emmy Award nomination was among the accomplishments for Hunt as a regular performer on the Comedy Central series "Key & Peele". Along with appearing in several sketches, Hunt was nominated at the 67th Primetime Emmy Awards for Outstanding Writing for a Variety Special. The nomination, with Keegan-Michael Key, Jordan Peele and Rich Talarico, was for the "Key & Peele" Super Bowl Special.


title: Brendan Hunt

text: In 2013, Hunt co-wrote a Premier League advertising campaign for NBC Sports featuring himself as an assistant coach to Tottenham Hotspur with Jason Sudeikis. Sudeikis told GQ magazine that the two drew off their years in Amsterdam playing FIFA together before and after shows. The commercials were named as the second-best TV soccer sketch by "Paste" with the magazine saying, "Brilliant though Sudeikis is, the unsung hero of these sketches is Brendan Hunt." The campaign received a Bronze award at the 2014 Sports Clio Awards.


title: Brendan Hunt

text: Hunt was a writer and performer in the 2015 online comedy-documentary series "Thank You and Sorry" for Google Play. The six-episode series featured a mix of comedy sketches and a real-life look at musician Jack Antonoff and his tours with Bleachers.


title: Brendan Hunt

text: In 2015, Hunt brought his voice as one of the main DJs in the game "Fallout 4". Hunt plays DJ Travis of Diamond City Radio, whose monotone voice reflects on the surroundings of the ruins of Boston now known as the Commonwealth. Hunt also plays Detective Perry, who is seen in a holotape.


title: Brendan Hunt

text: Starting in 2014, Hunt also made his mark in children and teen television with roles in the Disney Channel series "Dog With a Blog" and "Austin & Ally", as well as Disney XD’s "Kirby Buckets".


title: Brendan Hunt

text: In 2020, the series "Ted Lasso", which Hunt both co-created and is a member of the regular cast of, launched on Apple TV+.


title: Brendan Hunt

text: Hunt has appeared in several commercials, including ads for GEICO, Skittles, Oscar Meyer and Volkswagen.


title: Brendan Hunt

text: At the 2016 Hollywood Fringe Festival, Hunt debuted the one-man play "Still Got It". In the show, Hunt plays a person reeling from making a bad toast at his friend’s wedding. Hunt’s performance was honored for top Solo Performance at the 2016 Hollywood Fringe Festival Awards.


title: Colleen Camp

text: Colleen Celeste Camp (born June 7, 1953) is an American character actress and producer. After appearing in several bit parts, she had a lead role in the comedy "The Swinging Cheerleaders" (1974), followed by roles in two installments of the "Police Academy" series. Camp had supporting roles in "Death Game" (1977), "Apocalypse Now" (1979), and "The Seduction" (1982), after which she played Julie’s mother in "Valley Girl" and Yvette the Maid in the 1985 comedy "Clue".


title: Colleen Camp

text: Camp has continued to have minor and supporting roles in various independent and studio films, including "Die Hard with a Vengeance" (1995), "Election" (1999), "Factory Girl" (2006), "Palo Alto" (2013), "American Hustle" (2013), and "The House with a Clock in Its Walls" (2018).


title: Colleen Camp

text: Colleen Camp was born in San Francisco, California. She has two brothers, Don and Glen. She moved to the San Fernando Valley at a young age and attended John H. Francis Polytechnic High School, Los Angeles Valley College, and California State University, Northridge, where she majored in English and minored in theater arts.


title: Colleen Camp

text: To help pay for college, Camp trained macaws at Busch Gardens on weeknights, weekends, and then during summers performing for crowds of up to 2,000 in six shows a day, six days a week. Aspiring to be an actress, Camp took private acting and singing lessons. She was noticed by a talent agent for her hour-long Busch Gardens television special featuring her and her birds, and hired for national-television commercials for Gallo wine and Touch of Sweden hand lotion. This exposure led to small television parts in shows such as "Marcus Welby, M.D.", "Happy Days", and "Love, American Style", as well as a six-episode stint on the miniseries "Rich Man, Poor Man".


title: Colleen Camp

text: Camp landed small early roles in films like "Funny Lady" with Barbra Streisand and James Caan, and "Smile" with Bruce Dern and Barbara Feldon in 1975. She also appeared in the Bruce Lee movie "Game of Death" (1978) as his girlfriend, Ann, the young aspiring singer (her scenes were shot with a lookalike as Lee had died before she became involved) performing the film's love theme "Will This Be The Song I'll Be Singing Tomorrow". Camp went on to portray a Playmate in Francis Coppola's 1979 film "Apocalypse Now" (followed by an actual pictorial in the October 1979 Playboy), though most of her footage was cut from the initial theatrical release. She would later feature more prominently in Coppola's "Redux" cut. She was also the first actress to play Kristin Shepard, the sister of Linda Gray's character, in the primetime soap opera "Dallas" in 1979. Mary Crosby later replaced Camp in this role.


title: Colleen Camp

text: Camp worked steadily in film comedies like Peter Bogdanovich's 1981 comedy "They All Laughed", 1983's "Valley Girl", 1985's "Clue", and the 1994 Michael J. Fox comedy "Greedy". She played a police officer in two of the "Police Academy" films and in "Die Hard with a Vengeance". Camp was nominated twice for the Worst Supporting Actress Golden Raspberry Award – first, in 1982, for "The Seduction", and then, in 1993, for "Sliver". In 1999, she had a small part as character Tracy Flick's overbearing mother in the film "Election", with Reese Witherspoon as Tracy. She appeared in the episode "Simple Explanation" of "House" in 2009.


title: Colleen Camp

text: In 2013, she appeared in a supporting role in David O. Russell's "American Hustle" The following year, Camp co-produced a Broadway production of "Love Letters" and in 2015 co-produced Eli Roth's thriller "Knock Knock" in which she also appeared in a supporting role in the film.


title: Colleen Camp

text: In the late 1970s, Camp dated Dean Tavoularis, whom she met in the Philippines while filming "Apocalypse Now". In 1986, she married John Goldwyn, a Paramount executive, though they divorced in 2001. They have one daughter, Emily.


title: Colleen Camp

text: In November 2020, Camp's engagement to 34-year-old Garrett Moore, son of photographer Derry Moore, 12th Earl of Drogheda, was announced.


title: Harry Anderson

text: Harry Laverne Anderson (October 14, 1952 – April 16, 2018) was an American actor, comedian and magician. He is best known for his role of Judge Harry Stone on the 1984–1992 television series "Night Court". He later starred in the sitcom "Dave's World" from 1993 to 1997.


title: Harry Anderson

text: In addition to eight appearances on "Saturday Night Live" between 1981 and 1985, Anderson had a recurring guest role as con man Harry "The Hat" Gittes on "Cheers". He toured extensively as a magician, and did several magic/comedy shows for broadcast, including "Harry Anderson's Sideshow" (1987). He played Richie Tozier in the 1990 miniseries "It", based on the Stephen King novel of the same name.


title: Harry Anderson

text: Anderson was born October 14, 1952, in Newport, Rhode Island. He spent much of his youth performing magic on the streets of Chicago, New York, St. Louis and New Orleans before landing in California at the age of 16. After moving to Los Angeles, he joined the Dante Magic Club and worked as a street magician in San Francisco when he was 17. He attended Buena Park High School before graduating from North Hollywood High School in 1970 as class valedictorian. After high school, he attended Fullerton College. From 1971 to 1976 he lived in Ashland, Oregon, performing magic and working with the Oregon Shakespeare Festival.


title: Harry Anderson

text: Anderson's many appearances on "Saturday Night Live" during the show's seventh, eighth, and ninth seasons, as well as hosting an episode on the show's tenth season, led to his role as Harry "The Hat" Gittes on several seasons of the television sitcom "Cheers", and eventually as Judge Harry Stone on the sitcom "Night Court". He went on to appear in other television specials and shows, including 12 appearances on "The Tonight Show Starring Johnny Carson".


title: Harry Anderson

text: As a magician, Anderson toured extensively and performed in comedy/magic shows for clubs and broadcast, including "Harry Anderson's Sideshow" in 1987. In 1990, he starred in the television adaptation of "Stephen King's It" as the adult Richie Tozier. From 1993 to 1997, he starred in the television sitcom "Dave's World", based loosely on the life and columns of humorist Dave Barry.


title: Harry Anderson

text: Together with longtime friend Turk Pipkin, Anderson wrote a book called "Games You Can't Lose: A Guide for Suckers", a collection of gags, cons, tricks and scams. First published in 1989 (, 2001 reprint), it also contains a survey of "Games You Can't Win" told from an insider's perspective. He appeared with Criss Angel in a TV special called "The Science of Magic", later released on DVD.


title: Harry Anderson

text: In 2000, Anderson hosted the pilot for a potential revival of the panel game show "What's My Line?" for CBS primetime.


title: Harry Anderson

text: He moved from Pasadena, California, to New Orleans in 2002. In 2002, he and his second wife, Elizabeth, whom he met in New Orleans while she was bartending, opened a small shop in the French Quarter named "Spade & Archer Curiosities by Appointment" (later named "Sideshow"), selling various "magic, curiosities, and apocrypha".


title: Harry Anderson

text: In 2005, Anderson opened a nightclub in the French Quarter, Oswald's Speakeasy, at 1331 Decatur Street at the corner of Esplanade Avenue. He performed a one-man show there called "Wise Guy."


title: Harry Anderson

text: Anderson appeared in "Hexing a Hurricane", a documentary about the first six months in New Orleans after Hurricane Katrina. He and his wife sold Oswald's Speakeasy in October 2006. He continued to present his evening show "Wise Guy", originally developed for his theater in New Orleans.


title: Harry Anderson

text: In November 2008, Anderson played himself on an episode of "30 Rock", along with fellow former "Night Court" cast members Markie Post and Charles Robinson.


title: Harry Anderson

text: In his final years, Anderson appeared in television comedy series such as "Comedy Bang! Bang!" (2013) and "Gotham Comedy Live" (2014). His final film portrayal was as Professor Kaman in the 2014 Christian drama film "A Matter of Faith".


title: Harry Anderson

text: Anderson was a longtime fan of singer Mel Tormé, and his character Judge Stone on "Night Court" was also a Tormé fan; the singer appeared on the sitcom six times. "Night Court" creator Reinhold Weege said that Anderson and his character both being Tormé fans was completely coincidental. Anderson was among those who delivered eulogies at the singer's funeral in 1999.


title: Harry Anderson

text: Anderson was married twice. In 1977 he married Leslie Pollack (b. 1953); they had two children, a daughter, Eva Fay Anderson, and a son, Dashiell Anderson, before divorcing in 1999. In 2000 he married Elizabeth Morgan (b. 1973). In 2006, Anderson and his wife moved from New Orleans to Asheville, North Carolina.


title: Harry Anderson

text: In late January 2018, Anderson had a bout of influenza, and subsequently suffered several strokes. On April 16, 2018, he died in his sleep of a stroke due to influenza and heart disease at his home in Asheville, North Carolina, at the age of 65.


title: David Bale

text: David Charles Howard Bale (2 September 1941 – 30 December 2003) was an English entrepreneur and an environmentalist animal welfare activist. He was the father of actor Christian Bale and the husband of Gloria Steinem.


title: David Bale

text: Bale was born in South Africa to English parents. His father, Philip Bale, was a Royal Air Force pilot. Bale grew up in England, Egypt and the Channel Islands. He worked as a commercial pilot and later ran a commuter airline in England. His business activities included marketing imported jeans and skateboards.


title: David Bale

text: Bale was an activist for environmental and animal rights causes. He served as a board member of The Dian Fossey Gorilla Fund and the Ark Trust, which in 2002 became the Hollywood branch of the Humane Society of the United States. He also served as a board member for World Education, Inc., an international non-profit organisation known for its work in educational development, located in Boston, Massachusetts.


title: David Bale

text: Bale was married three times. His first marriage to Sandra Kreunen in South Africa ended in 1964 after she filed for divorce when he returned to England to visit his mother. His second marriage to Jenny James in England also ended in divorce. He had a daughter, Erin Bale Kreunen, from the first marriage, and three children from his second marriage: Louise, Sharon, and Christian, the last of whom became an actor.


title: David Bale

text: On 3 September 2000, Bale married the feminist writer, journalist, and social-political activist Gloria Steinem. Their wedding in Oklahoma was a private ceremony at the home of her friend Wilma Mankiller, the first female Principal Chief of the Cherokee Nation. Bale had been facing deportation after overstaying his visa. Both Steinem and Bale denied that Bale's immigration status was the motivation for the marriage.


title: David Bale

text: Steinem had previously been critical of the institution of marriage, saying that "marriage was the model for slavery law in this country". She said of her change in attitude, 'I didn't change. Marriage changed. We spent 30 years in the United States changing the marriage laws. If I had married when I was supposed to get married, I would have lost my name, my legal residence, my credit rating, many of my civil rights. That's not true any more. It's possible to make an equal marriage'.


title: Bill Evans

text: William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who worked primarily as the leader of his trio. His use of impressionist harmony, interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.


title: Bill Evans

text: Born in Plainfield, New Jersey, United States, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, in New York City, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, which in 1959, then immersed in modal jazz, recorded "Kind of Blue", the best-selling jazz album ever.


title: Bill Evans

text: In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, two albums were recorded at an engagement at New York's Village Vanguard jazz club, "Sunday at the Village Vanguard" and "Waltz for Debby"; a complete set of the Vanguard recordings on 3CDs was issued decades later. However, ten days after this booking ended, LaFaro died in a car accident. After months of seclusion, Evans reemerged with a new trio, featuring bassist Chuck Israels.


title: Bill Evans

text: In 1963, Evans recorded "Conversations with Myself", a solo album produced with overdubbing technology. In 1966, he met bassist Eddie Gómez, with whom he worked for the next 11 years. During the mid-1970s Bill Evans collaborated with the singer Tony Bennett on two critically acclaimed albums: "The Tony Bennett/Bill Evans Album" (1975) and "Together Again" (1977).


title: Bill Evans

text: Many of Evans's compositions, such as "Waltz for Debby", have become standards, played and recorded by many artists. Evans received 31 Grammy nominations and seven awards, and was inducted into the "DownBeat" Jazz Hall of Fame.


title: Bill Evans

text: Evans grew up in North Plainfield, New Jersey, the son of Harry and Mary Evans (née Soroka). His father was of Welsh descent and ran a golf course; his mother was of Ukrainian ancestry and descended from a family of coal miners. The marriage was stormy because of his father's heavy drinking, gambling, and abuse. Bill had a brother, Harry (Harold), two years his senior, with whom he was very close.


title: Bill Evans

text: Given Harry Evans Sr.'s destructive character, Mary Evans often left home with her sons to go to nearby Somerville, to stay with her sister Justine and the Epps family. There, Harry began piano lessons somewhere between age 5 and 7 with local teacher Helen Leland. Bill was thought to be too young for lessons, but he began to play what he had heard during his brother's, and soon both were taking piano lessons.


title: Bill Evans

text: Evans remembered Leland with affection for not insisting on a heavy technical approach, with scales and arpeggios. He quickly developed a fluent sight-reading ability, but Leland considered Harry a better pianist. At the age of seven, Bill began violin lessons, and soon also flute and piccolo. He soon dropped those instruments, but it is believed they later influenced his keyboard style. He later named Mozart, Beethoven and Schubert as composers whose work he often played. During high school, Evans came in contact with 20th-century music like Stravinsky's "Petrushka", which he called a "tremendous experience", and Milhaud's "Suite provençale", whose bitonal language he believed "opened him to new things." Around the same time came his first exposure to jazz, when aged 12 he heard Tommy Dorsey and Harry James's bands on the radio. At the age of 13, Bill stood in for a sick pianist in Buddy Valentino's rehearsal band, where Harry was already playing the trumpet. Soon he began to perform for dances and weddings throughout New Jersey, playing music like boogie woogie and polkas for $1 per hour. Around this time, he met multi-instrumentalist Don Elliott, with whom he later recorded. Another important influence was bassist George Platt, who introduced Evans to the theory of harmony.


title: Bill Evans

text: Evans also listened to Earl Hines, Coleman Hawkins, Bud Powell, George Shearing, Stan Getz, and Nat King Cole among others. He particularly admired Cole. Evans attended North Plainfield High School, graduating in 1946.


title: Bill Evans

text: After high school, in September 1946, Evans attended Southeastern Louisiana University on a flute scholarship. He studied classical piano interpretation with Louis P. Kohnop, John Venettozzi, and Ronald Stetzel. A key figure in Evans's development was Gretchen Magee, whose methods of teaching left a big imprint on his compositional style.


title: Bill Evans

text: Around his third year in college, Evans composed his first known tune, "Very Early". Around that time he also composed a piece called "Peace Piece". Years later, when asked to play it, he said it was a spontaneous improvisation and didn't know it. He was a founding member of SLU's Delta Omega chapter of Phi Mu Alpha Sinfonia, played quarterback for the fraternity's football team, and played in the college band. In 1950, he performed Beethoven's Piano Concerto No. 3 on his senior recital, graduating with a Bachelor of Music in piano and a bachelor's in music education. Evans regarded his last three years in college as the happiest of his life.


title: Bill Evans

text: During college, Evans met guitarist Mundell Lowe, and after graduating, they formed a trio with bassist Red Mitchell. The three relocated to New York City, but their inability to attract bookings prompted them to leave for Calumet City, Illinois. In July 1950, Evans joined Herbie Fields's band, based in Chicago. During the summer, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and Washington, D.C. The band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in clubs, often backing singer Lurlean Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army.


title: Bill Evans

text: During his three-year (1951–54) period in the Army, Evans played flute, piccolo, and piano in the Fifth U.S. Army Band at Fort Sheridan. He hosted a jazz program on the camp radio station and occasionally performed in Chicago clubs, where he met singer Lucy Reed, with whom he became friends and later recorded. He met singer and bassist Bill Scott and Chicago jazz pianist Sam Distefano (his bunkmate in their platoon), both of whom became Evans's close friends. Evans's stay in the Army was traumatic, however, and he had nightmares for years. As people criticized his musical conceptions and playing, he lost confidence for the first time. Around 1953, Evans composed his best-known tune, "Waltz for Debby", for his young niece. During this period, he began using recreational drugs, occasionally smoking marijuana.


title: Bill Evans

text: Evans was discharged from the Army in January 1954, and entered a period of seclusion triggered by the harsh criticism he had received. He took a sabbatical year and lived with his parents, where he set up a studio, acquired a grand piano and worked on his technique, believing he lacked the natural fluency of other musicians. He visited his brother, now in Baton Rouge, Louisiana, recently married and working as a conservatory teacher.


title: Bill Evans

text: In July 1955, Evans returned to New York City and enrolled in the Mannes College of Music for a three-semester postgraduate course in music composition. He also wrote classical settings of poems by William Blake. Along with his studies, Evans played in low-profile "Tuxedo gigs" at the Friendship Club and the Roseland Ballroom, as well as Jewish weddings, intermission spots, and over-40 dances. Better opportunities also arose, such as playing solo opposite the Modern Jazz Quartet at the Village Vanguard, where one day he saw Miles Davis listening to him. During this period, Evans also met Thelonious Monk.


title: Bill Evans

text: Evans soon began to perform in Greenwich Village clubs with Don Elliott, Tony Scott, Mundell Lowe, and bandleader Jerry Wald. He may have played on some of Wald's discs, but his first proven Wald recording is "Listen to the Music of Jerry Wald", which also featured his future drummer Paul Motian.


title: Bill Evans

text: In early 1955, singer Lucy Reed moved to New York City to play at the Village Vanguard and The Blue Angel, and in August she recorded "The Singing Reed" with a four-piece group that included Evans. During this period, he met two of Reed's friends: manager Helen Keane, who became his agent seven years later, and George Russell, with whom he soon worked. That year, he recorded with guitarist Dick Garcia on "A Message from Garcia" for the Dawn label. In parallel, Evans kept up his work with Scott, playing in Preview's Modern Jazz Club in Chicago during December 1956–January 1957, and recording "The Complete Tony Scott". After the "Complete" sessions, Scott left for a long overseas tour.


title: Bill Evans

text: In September 1956, producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape Mundell Lowe played to him over the phone. The result was his debut album, "New Jazz Conceptions", featuring the original versions of "Waltz for Debby" and "Five". Eleven songs were recorded in the first session, including Evans' original composition "Waltz for Debby", which would prove to be his most recognized and recorded composition. The album began Evans's relationship with Riverside Records, and also marked the formation of the first Bill Evans trio with Teddy Kotick (bass) and Paul Motian (drums). Allmusic critic Scott Yanow said about the album: "Bill Evans' debut as a leader found the 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time... A strong start to a rather significant career." David Rickert of All About Jazz noted the influence of Bud Powell and wrote "Even at this stage he had the chops to make this a good piano jazz album, but in the end it's not a very good Bill Evans album... There are glimpses of the later trademarks of Evans' style..." Although a critical success that gained positive reviews in "DownBeat" and "Metronome" magazines, "New Jazz Conceptions" was initially a financial failure, selling only 800 copies the first year. "Five" was for some time Evans's trio farewell tune during performances. After the album's release, Evans spent much time studying J. S. Bach's music to improve his technique.


title: Bill Evans

text: Evans met composer George Russell during his tenure with Lucy Reed. Russell's first impression of Evans was negative ("this is going to be like pulling teeth all day"), but when he secretly heard Evans play, he completely changed his mind. Russell was then developing his magnum opus, the treatise "Lydian Chromatic Concept of Tonal Organization", in which he argued that the Lydian mode was more compatible with tonality than the major scale used in most music. This was groundbreaking in jazz, and soon influenced musicians like Miles Davis. Evans, who was already acquainted with these ideas, began to work with Russell in 1956.


title: Bill Evans

text: By this time, RCA Victor had begun a series of recordings called "Jazz Workshop", and soon Russell, through the intervention of Hal McKusick and Jack Lewis, gained his own record date titled The Jazz Workshop and released in 1957. At that time, Russell assembled trumpeter Art Farmer, guitarist Barry Galbraith, bassist Milt Hinton and Bill Evans on piano for three recording dates, along with several rehearsal sessions. Initially, for these sessions, only the bassist was given a written part, while the rest were left, and, according to Farmer, "took the parts at home and tried to come to terms with them". The album took a year to make, and was successful enough to enable Russell to escape his penurious lifestyle. Evans performed a significant solo in "Concerto for Billy the Kid".


title: Bill Evans

text: In 1957, Russell was one of six composers (three jazz, three classical) Brandeis University commissioned to write a piece for its Festival of the Creative Arts in the context of the first experiments in third stream jazz. Russell wrote a suite for orchestra, "All About Rosie", that featured Evans, among other soloists. "All About Rosie" has been cited as one of the few convincing examples of composed polyphony in jazz. A week before the festival, the piece was previewed on TV, and Evans's performance was deemed "legendary" in jazz circles. During the festival performance, on June 6, Evans became acquainted with Chuck Israels, who became his bassist years later. During the Brandeis Festival, guitarist Joe Puma invited Evans to play on the album "Joe Puma/Jazz".


title: Bill Evans

text: That year, Evans also met bassist Scott LaFaro while auditioning him for a place in an ensemble led by trumpeter Chet Baker, and was impressed. LaFaro joined his trio three years later.


title: Bill Evans

text: Evans also performed on albums by Charles Mingus, Oliver Nelson, Tony Scott, Eddie Costa and Art Farmer.


title: Bill Evans

text: In February 1958, at Miles Davis's urging, Russell drove Evans over to the Colony Club in Brooklyn, to play with Davis' sextet. At this time, John Coltrane, Cannonball Adderley, Paul Chambers and Philly Joe Jones were the other members of Davis' group. Red Garland had recently been fired and Evans knew it was an audition for the group's pianist. By the end of the night, Davis told Evans that he would be playing their next engagement in Philadelphia. While the band used to play a mixture of jazz standards and bebop originals, by that time Davis had begun his venture in modal jazz, having just released his album "Milestones".


title: Bill Evans

text: Evans formally joined the Miles Davis group in April 1958. The band appeared in radio broadcasts on Saturday nights and, on May 3, the new formation made its first broadcast from Café Bohemia (its usual locale). The live radio appearance that was broadcast on May 17, 1958, and was released on the album titled "Makin' Wax", is known as the earliest documented evidence of Bill Evans and Miles Davis collaboration. By mid-May, Jimmy Cobb replaced Philly Joe Jones, with whom Evans had developed a close friendship. On May 26, Evans made his first studio recordings with Davis, which were first issued as part of "Jazz Track", and later reissued on "1958 Miles".


title: Bill Evans

text: A performance of the Ballets Africains from Guinea in 1958 sparked Davis' interest in modal music. This music stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance. Another influence was George Russell's treatise. Both influences coalesced in Davis' conception of modal jazz offering an alternative to chord changes and major/minor key relationships, relying instead on a series of modal scales. He realized that Evans, who had worked with Russell, could follow him into modal music. At the same time, Evans introduced Davis to twentieth-century classical composers such as Sergei Rachmaninoff, Maurice Ravel, and Aram Khachaturian.


title: Bill Evans

text: The band's mostly black followers did not react favourably to the replacement of Garland with a white musician. Davis used to tease him and Evans's sensitivity perhaps let it get to him. However, the band began to find a new, smoother groove, as Adderley recalled: "When he started to use Bill, Miles changed his style from very hard to a softer approach."


title: Bill Evans

text: In July 1958, Evans appeared as a sideman on Adderley's album "Portrait of Cannonball", featuring the first performance of "Nardis", specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted. The piece came to be associated with Evans's future trios, which played it frequently.