David Graeber - Bullshit Jobs: The Rise of Pointless Work, and What We Can Do About It Penguin, 2019 368 str. meki povez stanje: vrlo dobro `Spectacular and terrifyingly true` Owen Jones `Explosive` John McDonnell, New Statesman, Books of the Year `Thought-provoking and funny` The Times FT BUSINESS BOOK OF THE YEAR 2018, THE TIMES BOOK OF THE YEAR 2018, NEW STATESMAN BOOK OF THE YEAR 2018 and CITY AM BOOK OF THE YEAR 2018 Be honest: if your job didn`t exist, would anybody miss it? Have you ever wondered why not? Up to 40% of us secretly believe our jobs probably aren`t necessary. In other words: they are bullshit jobs. This book shows why, and what we can do about it. In the early twentieth century, people prophesied that technology would see us all working fifteen-hour weeks and driving flying cars. Instead, something curious happened. Not only have the flying cars not materialised, but average working hours have increased rather than decreased. And now, across the developed world, three-quarters of all jobs are in services, finance or admin: jobs that don`t seem to contribute anything to society. In Bullshit Jobs, David Graeber explores how this phenomenon - one more associated with the Soviet Union, but which capitalism was supposed to eliminate - has happened. In doing so, he looks at how, rather than producing anything, work has become an end in itself; the way such work maintains the current broken system of finance capital; and, finally, how we can get out of it. This book is for anyone whose heart has sunk at the sight of a whiteboard, who believes `workshops` should only be for making things, or who just suspects that there might be a better way to run our world. Contents: Preface: On the phenomenon of bullshit jobs What is a bullshit job? What sorts of bullshit jobs are there? Why do those in bullshit jobs regularly report themselves unhappy? What is it like to have a bullshit job? Why are bullshit jobs proliferating? Why do we as a society not object to the growth of pointless employment? What are the political effects of bullshit jobs, and is there anything that can be done about this situation? `Does your job make a meaningful contribution to the world?` David Graeber asked this question in a playful, provocative online essay titled On the Phenomenon of Bullshit Jobs. He defined a bullshit job as `a form of paid employment that is so completely pointless, unnecessary, or pernicious that even the employee cannot justify its existence, even though as part of the conditions of employment, the employee feels obliged to pretend that this is not the case.` After a million views in seventeen different languages, people all over the world are still debating the answer. ... Graeber, in his singularly searing and illuminating style, identifies the five types of bullshit jobs and argues that when 1 percent of the population controls most of a society`s wealth, they control what jobs are `useful` and `important.` ... Graeber illustrates how nurses, bus drivers, musicians, and landscape gardeners provide true value, and what it says about us as a society when we look down upon them. Using arguments from some of the most revered political thinkers, philosophers, and scientists of our time, Graeber articulates the societal and political consequences of these bullshit jobs. Depression, anxiety, and a warped sense of our values are all dire concerns. He provides a blueprint to undergo a shift in values, placing creative and caring work at the center of our culture, providing the meaning and satisfaction we all crave.`--Jacket Nonfiction, Sociology, 0141983477

LORA MALVI VIZUELNA I DRUGA ZADOVOLJSTVA Pogovor - Nevena Daković Pogovor - Dijana Metlić Pogovor - Vesna Dinić Miljković Prevod - Aleksandra Kostić Izdavač - Filmski centar Srbije, Beograd Godina - 2017 234 strana 24 cm Edicija - Biblioteka Umetnost ekrana ISBN - 978-86-7227-096-9 Povez - Broširan Stanje - Kao na slici, tekst bez podvlačenja SADRŽAJ: Uvod u prvo izdanje UVOD U DRUGO IZDANJE I Vizuelno zadovoljstvo i narativni film: poreklo i konteksti Filmofilija i frankofilija Tada, feminizam i psihoanalitička teorija Kasnije - avangarda II Druga zadovoljstva: naznake, zagonetke, enigme III Godina 2008. DEO I - IKONOKLAZAM 1 Spektakl je ranjiv: Mis sveta 1970. godine 2 Strahovi, fantazije i muško nesvesno ili „Vi ne shvatate šta se događa, zar ne, gospodine?` Jezik straha od kastracije Kolekcija znakova jednog fetišiste 3 Vizuelno zadovoljstvo i narativni film I Uvod a) Politička upotreba psihoanalize b) Razaranje zadovoljstva kao radikalno oružje II Zadovoljstvo u gledanju - fasciniranost ljudskim obličjem III Žena kao slika, muškarac kao nosilac pogleda IV Sažetak Deo II - Melodrama 4 Naknadne misli o „Vizuelnom zadovoljstvu i narativnom filmu`, inspirisane filmom Dvoboj na suncu (1946) Kinga Vidora Frojd i žensko Narativna gramatika i identifikacija sa drugim polom Vestern i edipalne personifikacije Žena kao označilac seksualnosti 5 Beleške o Sirku i melodrami 6 Fasbinder i Sirk 7 Slike žena, slike seksualnosti: neki filmovi Ž.L. Godara 8 Melodrama u domu i van njega Ekonomija Mitologije Estetika DEO III - NA MARGINAMA 9 Frida Kalo i Tina Modoti Meksička renesansa Žene, umetnost i politika Revolucija i renesansa Unutrašnjost i spoljašnjost Koreni i pokreti I: Frida Kalo Koreni i pokreti II: Tina Modoti Diskurs tela DEO IV - AVANGARDA 10 Film, feminizam i avangarda Istraživanje prošlosti Napad na seksizam Prvi feministički filmovi Sažetak Potraga za teorijom Potraga za praksom 11 Dijalog sa gledaocima Barbara Kruger i Viktor Burgin 12 „Veličanstvena opsesija`: Uvod u rad pet fotografa 13 Preteće vreme: Corpus Meri Keli DEO V - GRANICE 14 Promene: Misli o mitu, narativu i istorijskom iskustvu Završeci Od parabola do narativa Polarizacije I: binarni obrasci i dekonstrukcija Polarizacije II: konceptualna topologija Polarizacije III: negativna estetika Negacija i polna razlika: žena je „ne-čovek/muškarac“ Društveno ugnjetavanje i mit „drugosti` Transgresija i zakon Narativ i promena I: poredak i nered Narativ i promena II: graničnost Narativ i promena III: festivali ugnjetenih Kolektivna fantazija: politika nesvesnog 15 A. Mit o Edipu: S one strane Sfinginih zagonetki Edip: osnovna priča 1. Proairetički kod 2. Hermeneutički kod B. Ispod površine: vreme i prostor C. S one strane priče u jezgru 1. Završetak: očevo zaveštanje 2. Početak: sinovljevo nasleđe D. Lajevo zaveštanje DEO VI - RAZMIŠLJANJA, I NAKNADNA RAZMIŠLJANJA 16 Razmišljanja o mladoj modernoj ženi dvadesetih godina i feminističkoj filmskoj teoriji Indeks imena NEVENA DAKOVIĆ - Lora Malvi ili neka naknadna razmišljanja o uživanju i tumačenju Feministička teorija filma - između psihoanalize i identiteta Melodrama, spektakl i suze ostvarene želje Kontra pogled smrti Literatura DIJANA METLIĆ - Feminističke teorije i prakse Lore Malvibes VESNA DINIĆ MILJKOVIĆ - Žena/slika ili Površinski ponori Žan-Lik Godara `Jednu od velikih knjiga teorije filma dobijamo sada u prevodu Aleksandre Kostić prvi put na srpskom jeziku. Ova knjiga je još od kada se pojavila 1989. godine postala nezaobilazna, i s pravom nosi epitet jedne od najboljih teorijskih knjiga iz pera jedne autorke. Eruditska, multidisciplinarna, lucidna, knjiga Lore Malvi je istovremeno, dragoceni udžbenik za studente filmskih škola, jedinstvena u jeziku i stilu, „Vizuelna i druga zadovoljstva“ su knjiga koja je u isto vreme polemična, borbena, beskomporimisna.. Bilo da piše o slikarstvu Fride Kalo, filozofskoj teoriji Luja Altisera, fotografiji Tine Modoti, stvaralšatvu Godara i Daglasa Sirka, Lora Malvi čini to znalački, funkcionalno i iznenađujuće jasno. U pokušaju da ova jedinstvena knjiga ima svoj konceptni adekvat u sadržaju, dragocen je doprinos njenih recenzentkinja, prof. dr Nevene Daković, prof doc Dijane Metlić i prof doc Vesne Dinić Miljković koje srpskom čitaocu na dragocen način približavaju teorijsku misao Lore Malvi.` Ako Vas nešto zanima, slobodno pošaljite poruku. Laura Mulvey Visual And Other Pleasures Šantal Akerman Chantal Luj Altiser Louis Althusser Rolan Bart Roland Barthes Valter Benjamin Walter Viktor Burgin Victor Klara Bou Clara Bow Bertolt Breht Brecht Andre Breton Piter Bruks Peter Brooks Tereza De Laurentis Teresa Maja Deren Maya Alen Džons Allen Jones Kler Džonston Claire Johnston Sergej Mihailovič Ejzenštajn Tomas Elseser Thomas Elsaesser Rajner Verner Fasbinder Rainer Werner Fassbinder Šošana Felman Shoshana Sigmun Frojd Freud Žan Lik Godar Džon Halidej Jon Halliday Mirijam Hansen Miriam Hansen Alfred Hičkok Hitchock Bob Houp Hope Frida Kalo Kahlo Meri Keli Mary Kelly Karen Knor Knorr Džoan Kraford Joan Crawford Julija Kristeva Julia Barbara Kruger Pem Kuk Cook Žak Lakan Jacques Lacan Klod Levi Stros Claude Strauss Mark Luis Lewis Džef Majls Jeff Miles Karl Marks Marx Džulijet Mičel Juliet Mitchell An Mari Mijevij Anne Marie Mieville Tina Modoti Modotti Kolin Mur Colin Moore Vladimir Prop Ivon Rejner Yvonne Riner Oliver Rišon Olivier Richon Dijego Rivera Diego David Alfaro Sikeiros Daglas Sirk Douglas Sofokle Sophocles Džozef Fon Šternberg Josef Von Sternberg Mitra Tabricijan Tabrizian Terens Tarner Terence Turner Lav Davidovič Trocki Viktor Tarner Victor Turner Edvard Veston Edward Weston King Vidor Piter Volen Peter Wollen

Kao na slikama Deluje nekorišćeno Cekade Ervin Piskator Zagreb, 1985. 14 x 22 cm, tvrd povez sa omotom, 198 strana Erwin Friedrich Maximilian Piscator (17 December 1893 – 30 March 1966) was a German theatre director and producer. Along with Bertolt Brecht, he was the foremost exponent of epic theatre, a form that emphasizes the socio-political content of drama, rather than its emotional manipulation of the audience or the production`s formal beauty.[2] Biography[edit] Youth and wartime experience[edit] The Volksbühne Berlin, scene of Piscator`s early successes as a stage director in 1924 Erwin Friedrich Max Piscator was born on 17 December 1893 in the small Prussian village of Greifenstein-Ulm, the son of Carl Piscator, a merchant, and his wife Antonia Laparose.[3] His family was descended from Johannes Piscator, a Protestant theologian who produced an important translation of the Bible in 1600.[4] The family moved to the university town Marburg in 1899 where Piscator attended the Gymnasium Philippinum. In the autumn of 1913, he attended a private Munich drama school and enrolled at University of Munich to study German, philosophy and art history. Piscator also took Arthur Kutscher`s famous seminar in theatre history, which Bertolt Brecht later also attended.[5] Piscator began his acting career in the autumn of 1914, in small unpaid roles at the Munich Court Theatre, under the directorship of Ernst von Possart. In 1896, Karl Lautenschläger had installed one of the world`s first revolving stages in that theatre.[6] During the First World War, Piscator was drafted into the German army, serving in a frontline infantry unit as a Landsturm soldier from the spring of 1915 (and later as a signaller). The experience inspired a hatred of militarism and war that lasted for the rest of his life. He wrote a few bitter poems that were published in 1915 and 1916 in the left-wing Expressionist literary magazine Die Aktion. In summer 1917, having participated in the battles at Ypres Salient and been in hospital once, he was assigned to a newly established army theatre unit. In November 1918, when the armistice was declared, Piscator participated in the November Revolution, giving a speech in Hasselt at the first meeting of a revolutionary Soldiers` Council (Soviet).[6] Early success in the Weimar Republic[edit] Piscator returned to Berlin and joined the newly formed Communist Party of Germany (KPD). He left briefly for Königsberg, where he joined the Tribunal Theatre. He participated in several expressionist plays and played the student, Arkenholz, in the Ghost Sonata by August Strindberg. He joined Hermann Schüller in establishing the Proletarian Theatre, Stage of the Revolutionary Workers of Greater Berlin.[7] The Piscator-Bühne in Berlin (1927–29), formerly known as Neues Schauspielhaus In collaboration with writer Hans José Rehfisch, Piscator formed a theatre company in Berlin at the Comedy-Theater on Alte Jacobsstrasse, following the Volksbühne (`people`s stage`) concept. In 1922–1923 they staged works by Maxim Gorky, Romain Rolland, and Leo Tolstoy.[8] As stage director at the Volksbühne (1924–1927), and later as managing director at his own theatre (the Piscator-Bühne on Nollendorfplatz), Piscator produced social and political plays especially suited to his theories. His dramatic aims were utilitarian — to influence voters or clarify left-wing policies. He used mechanized sets, lectures, movies, and mechanical devices that appealed to his audiences. In 1926, his updated production of Friedrich Schiller`s The Robbers at the distinguished Preußisches Staatstheater in Berlin provoked widespread controversy. Piscator made extensive cuts to the text and reinterpreted the play as a vehicle for his political beliefs. He presented the protagonist Karl Moor as a substantially self-absorbed insurgent. As Moor`s foil, Piscator made the character of Spiegelberg, often presented as a sinister figure, the voice of the working-class revolution. Spiegelberg appeared as a Trotskyist intellectual, slightly reminiscent of Charlie Chaplin with his cane and bowler hat. As he died, the audience heard The Internationale sung. Piscator founded the influential (though short-lived) Piscator-Bühne in Berlin in 1927. In 1928 he produced a notable adaptation of the unfinished, episodic Czech comic novel The Good Soldier Schweik. The dramaturgical collective that produced this adaptation included Bertolt Brecht.[9] Brecht later described it as a `montage from the novel`.[10] Leo Lania`s play Konjunktur (Oil Boom) premiered in Berlin in 1928, directed by Erwin Piscator, with incidental music by Kurt Weill. Three oil companies fight over the rights to oil production in a primitive Balkan country, and in the process exploit the people and destroy the environment. Weill`s songs from this play, such as Die Muschel von Margate, are still part of the modern repertoire of art music.[11] In 1929 Piscator published his The Political Theatre, discussions of the theory of theatre .[12] In the preface to its 1963 edition, Piscator wrote that the book was `assembled in hectic sessions during rehearsals for The Merchant of Berlin` by Walter Mehring, which had opened on 6 September 1929 at the second Piscator-Bühne.[13] It was intended to provide `a definitive explanation and elucidation of the basic facts of epic, i.e. political theatre`, which at that time `was still meeting with widespread rejection and misapprehension.`[13] Three decades later, Piscator said that: The justification for epic techniques is no longer disputed by anyone, but there is considerable confusion about what should be expressed by these means. The functional character of these epic techniques, in other words their inseparability from a specific content (the specific content, the specific message determines the means and not vice versa!) has by now become largely obscured. So we are still standing at the starting blocks. The race is not yet on ...[14] International work, emigration, and late productions in West Germany[edit] Piscator was theater manager of The Freie Volksbühne Berlin from 1962 until his death. In 1931, after the collapse of the third Piscator-Bühne, Piscator went to Moscow in order to make the motion picture Revolt of the Fishermen with actor Aleksei Dikiy, for Mezhrabpom, the Soviet film company associated with the International Workers` Relief Organisation.[15] As John Willett wrote, throughout the pre-Hitler years Piscator`s `commitment to the Russian Revolution was a decisive factor in all his work.`[16] With Hitler`s rise to power in 1933, Piscator`s stay in the Soviet Union became exile.[17] In July 1936, Piscator left the Soviet Union for France. In 1937, he married dancer Maria Ley in Paris. Bertolt Brecht was one of the groomsmen. During his years in Berlin, Piscator had collaborated with Lena Goldschmidt on a stage adaptation of Theodore Dreiser`s bestselling novel An American Tragedy; under the title The Case of Clyde Griffiths. With American Lee Strasberg as director, it had run for 19 performances on Broadway in 1936. When Piscator and Ley subsequently immigrated to the United States in 1939, Piscator was invited by Alvin Johnson, the founding president of The New School, to establish a theatre workshop. Among Piscator`s students at this Dramatic Workshop in New York were Bea Arthur, Harry Belafonte, Marlon Brando, Tony Curtis, Ben Gazzara, Judith Malina, Walter Matthau, Rod Steiger, Elaine Stritch, Eli Wallach, Jack Creley, and Tennessee Williams.[18] Established in New York, Erwin and Maria Ley-Piscator lived at 17 East 76th Street, an Upper East Side townhome, sometimes remembered as the Piscator House.[19] After World War II and the break-up of Germany, Piscator returned to West Germany in 1951 due to McCarthy era political pressure in the United States against former communists in the arts.[20] In 1962 Piscator was appointed manager and director of the Freie Volksbühne in West Berlin. To much international critical acclaim, in February 1963 Piscator premièred Rolf Hochhuth`s The Deputy, a play `about Pope Pius XII and the allegedly neglected rescue of Italian Jews from Nazi gas chambers.`[21] Until his death in 1966, Piscator was a major exponent of contemporary and documentary theatre. Piscator`s wife, Maria Ley, died in New York City in 1999. Effects on theatre[edit] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: `Erwin Piscator` – news · newspapers · books · scholar · JSTOR (December 2017) (Learn how and when to remove this template message) Piscator, a sculpture in the London Borough of Camden by Eduardo Paolozzi In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality. Erwin Piscator, 1929.[22] Piscator`s contribution to theatre has been described by theatre historian Günther Rühle as `the boldest advance made by the German stage` during the 20th century.[23] Piscator`s theatre techniques of the 1920s — such as the extensive use of still and cinematic projections from 1925 on, as well as complex scaffold stages — had an extensive influence on European and American production methods. His dramaturgy of contrasts led to sharp political satirical effects and anticipated the commentary techniques of epic theatre.[citation needed] In the Federal Republic of Germany, Piscator`s interventionist theatre model enjoyed a late second zenith. From 1962 on, Piscator produced several works that dealt with trying to come to terms with the Germans` Nazi past and other timely issues; he inspired mnemonic and documentary theatre in those years until his death. Piscator`s stage adaptation of Leo Tolstoy`s novel War and Peace[24] has been produced in some 16 countries since 1955, including three productions in New York City.[citation needed] Legacy and honors[edit] Opening of an exhibition on the occasion of the 50th anniversary of Erwin Piscator`s death, Berlin, 2016 In 1980, a monumental sculpture by Scottish artist Eduardo Paolozzi was dedicated to Piscator in central London.[25] In the fall of 1985, an annual Erwin Piscator Award was inaugurated in New York City, the adopted home of Piscator`s widow Maria Ley. Additionally, a Piscator Prize of Honors has been annually awarded to generous patrons of art and culture in commemoration of Maria Ley since 1996. The host of the Erwin Piscator Award is the international non-profit organisation `Elysium − between two continents` that aims to foster artistic and academic dialogue and exchange between the United States and Europe. In 2016, a Piscator monument was erected in his birthplace of Greifenstein-Ulm.[26] Piscator`s artistic papers are held by the archive of the Academy of Arts, Berlin (since 1966) and the Southern Illinois University Carbondale (Morris Library, since 1971).[27] Broadway productions[edit] Gotthold Ephraim Lessing, Nathan the Wise (Belasco Theatre, April 1942) Irving Kaye Davis, The Last Stop (Ethel Barrymore Theatre, September 1944) Films[edit] Revolt of the Fishermen (Восстание рыбаков). Director: Erwin Piscator, Screenplay: Georgi Grebner, Willy Döll, Producer: Mikhail Doller, USSR 1932–1934. Works[edit] Piscator, Erwin. 1929. The Political Theatre. A History 1914–1929. Translated by Hugh Rorrison. New York: Avon, 1978. ISBN 978-0-380401-88-8 (= London: Methuen, 1980. ISBN 978-0-413335-00-5). The ReGroup Theatre Company (ed.): The `Lost` Group Theatre Plays. Volume 3. The House of Connelly, Johnny Johnson, & Case of Clyde Griffiths. By Paul Green and Erwin Piscator. Prefaces by Judith Malina & William Ivey Long. New York, NY: CreateSpace, 2013. ISBN 978-1-484150-13-9. Tolstoy, Leo. War and Peace. Adapted for the Stage by Alfred Neumann, Erwin Piscator, and Guntram Prüfer. English adaptation by Robert David MacDonald. Preface by Bamber Gascoigne. London: Macgibbon & Kee, 1963. Literature[edit] Connelly, Stacey Jones. Forgotten Debts: Erwin Piscator and the Epic Theatre. Bloomington: Indiana University 1991. Innes, Christopher D. Erwin Piscator`s Political Theatre: The Development of Modern German Drama. Cambridge: Cambridge University Press 1972. Ley-Piscator, Maria. The Piscator Experiment. The Political Theatre. New York: James H. Heineman 1967. ISBN 0-8093-0458-9. Malina, Judith. The Piscator Notebook. London: Routledge Chapman & Hall 2012. ISBN 0-415-60073-1. McAlpine, Sheila. Visual Aids in the Productions of the First Piscator-Bühne, 1927–28. Frankfurt, Bern, New York etc.: Lang 1990. Probst, Gerhard F. Erwin Piscator and the American Theatre. New York, San Francisco, Bern etc. 1991. Rorrison, Hugh. Erwin Piscator: Politics on the Stage in the Weimar Republic. Cambridge, Alexandria VA 1987. Wannemacher, Klaus. Moving Theatre Back to the Spotlight: Erwin Piscator’s Later Stage Work. In: The Great European Stage Directors. Vol. 2. Meyerhold, Piscator, Brecht. Ed. by David Barnett. London etc.: Bloomsbury (Methuen Drama) 2018, pp. 91–129. ISBN 1-474-25411-X. Willett, John. The Theatre of Erwin Piscator: Half a Century of Politics in the Theatre. London: Methuen 1978. ISBN 0-413-37810-1. External links[edit] Biography portal Erwin Piscator at IMDb Website on Erwin Piscator, including `Annotated Erwin Piscator Bibliography` with more than 1300 title entries (German) Erwin Piscator Papers, 1930–1971 at Southern Illinois University Carbondale, Special Collections Research Center Information on the annual Erwin Piscator Award Photo of Piscator at Find a Grave Tags: Politika i knjizevnost bertolt Breht angažovana knjizevnost sartr avangarda

Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! Istorija jednog Nemca - Sebastijan Hafner Secanja 1914 - 1933 Tekst Istorija jednog Nemca napisan tridesetih godina ovoga veka, doživeo je četrnaest izdanja u Nemačkoj. Hafner pokazuje šta je jedan inteligentan i pre svega pošten Nemac znao o neizrecivoj prirodi nacizma, u vreme kada je nadmoćna većina njegovih zemljaka tvrdila da o tome ne zna ništa i da protiv zla nisu mogli da deluju. Povez: tvrd Format: 14×21 Str: 224 Raimund Pretzel (27. prosinca 1907. - 2. siječnja 1999.),[1] poznatiji pod pseudonimom Sebastian Haffner, bio je njemački novinar i povjesničar. Kao emigrant u Britaniji tijekom Drugog svjetskog rata, Haffner je tvrdio da je smještaj nemoguć ne samo s Adolfom Hitlerom nego i s njemačkim Reichom s kojim se Hitler kockao. Mir se mogao osigurati samo vraćanjem unatrag `sedamdeset pet godina njemačke povijesti` i vraćanjem Njemačke u mrežu manjih država.[2] Kao novinar u Zapadnoj Njemačkoj, Haffnerov svjesni napor `da dramatizira, da razlike gurne na vrh,`[3] ubrzao je prekide s urednicima i liberalnim i konzervativnim. Njegovo uplitanje u aferu Spiegel 1962. i njegov doprinos `antifašističkoj` retorici studentske Nove ljevice naglo su podigli njegov profil. Nakon razlaza s časopisom Stern 1975., Haffner je proizveo vrlo čitane studije usredotočene na ono što je vidio kao sudbonosni kontinuitet u povijesti njemačkog Reicha (1871.–1945.). Njegovi posthumno objavljeni prijeratni memoari Geschichte eines Deutschen: Die Erinnerungen 1914–1933 (Defying Hitler: a Memoir) (2003)[4] pridobili su mu nove čitatelje u Njemačkoj i inozemstvu. Haffner je rođen 1907. kao Raimund Pretzel u Berlinu. Tijekom ratnih godina 1914–18. pohađao je osnovnu školu (Volkschule) kojoj je ravnatelj bio njegov otac Carl Pretzel. Ovih se godina ne sjeća oskudica, nego vojnih biltena čitanih s uzbuđenjem nogometnog navijača koji prati rezultate utakmica. Haffner je vjerovao da je upravo iz ovog iskustva rata od strane generacije školaraca kao `igre između nacija`, zanosnije i emocionalno zadovoljavajuće od bilo čega što mir može ponuditi, nacizam izvući veliki dio svoje `privlačnosti`: `svoju jednostavnost, njegova privlačnost mašti i poletno djelovanje, ali i njegova netolerancija i okrutnost prema unutarnjim protivnicima.`[5] Nakon rata Haffner je prvo pohađao gimnaziju u centru grada, Königstädtisches Gymnasium Berlin na Alexanderplatzu. Ovdje se sprijateljio s djecom vodećih gradskih židovskih obitelji u poslovanju i slobodnim profesijama. Bili su ranorani, kultivirani i lijevo nastrojeni.[6] Međutim, njegova se adolescentska politika okrenula udesno nakon što se 1924. preselio u Schillergymnasium u Lichterfeldeu, na koji su bile pretplaćene obitelji u vojsci. Haffner je kasnije primijetio: `Cijeli moj život određen je mojim iskustvima u ove dvije škole`.[7] Hitler i egzil Nakon siječnja 1933., Haffner je kao student prava svjedočio raspoređivanju SA kao `pomoćne policijske snage` i, nakon ožujskog požara u Reichstagu, njihovom progonu židovskih i demokratskih pravnika sa sudova. Ono što ga je najviše šokiralo u ovim događajima bilo je potpuno odsustvo `bilo kakvog čina hrabrosti ili duha`. Suočeni s Hitlerovim usponom, činilo se kao da je `milijun pojedinaca istovremeno doživjelo živčani kolaps`. Bilo je nevjerice, ali otpora nije bilo.[8] Doktorsko istraživanje omogućilo je Haffneru da se skloni u Pariz, ali ne mogavši ​​se učvrstiti u gradu, vratio se u Berlin 1934. Nakon što je već objavio neku kraću prozu kao serijski romanopisac za Vossische Zeitung, mogao je zarađivati ​​za život pišući feljtone za stilske časopise u kojima su nacisti `tolerirali određenu kulturnu estetsku isključivost`.[9] No, pooštravanje političke kontrole i, što je hitnije, trudnoća njegove djevojke novinarke, koja je prema Nürnberškim zakonima klasificirana kao Židovka, potaknuli su emigraciju. Godine 1938. Erika Schmidt-Landry (rođena Hirsch) (1899-1969) uspjela se pridružiti bratu u Engleskoj, a Haffner ju je, po nalogu Ullstein Pressa, mogao pratiti. Vjenčali su se tjednima prije rođenja sina Olivera Pretzela.[10] Britanska objava rata Njemačkoj 3. rujna 1939. spasila je Haffnera od deportacije. Kao neprijateljski vanzemaljci Haffner i njegova supruga bili su internirani, ali su u kolovozu 1940. među prvima pušteni iz logora na otoku Man. U lipnju je izdavač Georgea Orwella Fredric Warburg objavio Njemačka, Jekyll and Hyde, Haffnerovo prvo djelo na engleskom i prvo za koje je, kako bi zaštitio svoju obitelj u Njemačkoj, upotrijebio imena koja je trebao zadržati: Sebastian (od Johanna Sebastiana Bacha) i Haffner (iz Mozartove Haffnerove simfonije). U Donjem domu postavljena su pitanja zašto je priveden autor tako važne knjige.[11] Lord Vansittart opisao je Haffnerovu analizu `Hitlerizma i njemačkog problema` kao `najvažniji [...] koji se još pojavio`.[12] Politički emigrant Njemačka: Jekyll i Hyde U polemici koja je uvježbavala teme njegovog kasnijeg povijesnog rada, Haffner je ustvrdio da je Britanija bila naivna kada je proglasila svoju `svađu` samo s Hitlerom, a ne s njemačkim narodom. Hitler je `stekao više pristaša u Njemačkoj i približio se apsolutnoj moći nego bilo tko prije njega`, a to je učinio `manje-više normalnim sredstvima uvjeravanja i privlačnosti`. To nije značilo da je `Hitler Njemačka`, ali je bilo ishitreno pretpostaviti da ispod hvaljenog jedinstva Njemačke ne postoji ništa osim `nezadovoljstva, tajne opozicije i potisnute pristojnosti`.[13] Nijemci su u rat ušli podijeljeni. Manje od jednog od pet bili su pravi bhakte, `pravi nacisti`. Nikakvo razmatranje, čak ni `boljševička prijetnja`, nije moglo pomiriti ovaj `moralno nedostupan` dio Nove Njemačke sa stabilnom Europom. Antisemitizam koji je njihova `značka` nadmašio je svoj izvorni motiv: ispuštanje Hitlerovih privatnih ogorčenosti, žrtveno janje manjine kao sigurnosni ventil za antikapitalističko raspoloženje. Funkcionira prije kao `sredstvo selekcije i suđenja`, identificirajući one koji su spremni, bez izgovora, progoniti, loviti i ubijati i tako biti vezani za Vođu `željeznim lancima zajedničkog zločina`. Hitler, pak, (`potencijalni samoubojica par excellence`) priznaje samo odanost vlastitoj osobi.[14] Veći broj Nijemaca – možda četiri od deset – želi samo vidjeti leđa Hitleru i nacistima. Ali `neorganizirani, obeshrabreni i često u očaju`, vrlo se malo njih poistovjećuje s potopljenom političkom oporbom, koja je i sama podijeljena i zbunjena. Rame uz rame žive s otprilike jednakim Nijemcima koji , strahujući od daljnjeg Versaillesa, podnose `predaju osobnosti, vjere i privatnog života` pod Hitlerom kao `domoljubnu žrtvu`. Preko svojih generala, ovi lojalisti Reichu mogli bi na kraju tražiti sporazume sa saveznicima, ali Haffner je pozvao na oprez. Sve što je manje od odlučnog prekida sa status quo ante samo bi se vratilo u `latentno i pasivno stanje` Reichov oživljavajući duh uvećanja i `vulgarnog obožavanja sile`.[15] Da bi u Europi postojala sigurnost, Haffner je inzistirao (u izvornom kurzivu) da `[Njemački Reich] mora nestati, a posljednjih sedamdeset pet godina njemačke povijesti mora biti izbrisano. Nijemci se moraju vratiti svojim koracima do točke u kojoj su krenuo krivim putem - do godine 1866` (godina kada je na bojnom polju kod Königgrätza Pruska uklonila austrijsku zaštitu od manjih njemačkih država). Artikulirajući tezu koju je trebao opširno braniti svoje posljednje (diktirano) djelo, Von Bismarck zu Hitler (1987.), Haffner je ustvrdio da „Ne može se zamisliti mir s pruskim Reichom koji je rođen u to vrijeme i čiji je posljednji logički izraz ne osim nacističke Njemačke`.[16] Njemačku treba vratiti na povijesni obrazac regionalnih država vezanih konfederalnim aranžmanima koji su europski, a ne isključivo nacionalni.[17] Istodobno, Haffner je priznao da bi dio privlačnosti Nijemaca bio to što bi, prenamijenjeni u Bavarce, Rajne i Sase, mogli izbjeći odmazdu saveznika. “Ne možemo se”, smatrao je, “i osloboditi njemačkog Reicha i, identificirajući njegove `države sukcesije`, kazniti ih za njegove grijehe”. Ako su saveznici željeli da mentalitet Reicha umre - `za što je postojala svaka mogućnost nakon katastrofe nacizma` - onda je novim državama trebalo dati `pravednu šansu`.[18] Churchill Postojala je priča da je Churchill naredio svakom članu svog ratnog kabineta da pročita Haffnerovu knjigu. Da je istina, odnos bi bio obostran. Od svih njegovih kasnijih radova, Haffner je rekao da mu je njegova kratka biografija Winston Churchill (1967.) bila najdraža.[19] Kada je 1965. Churchill umro, Sebastian Haffner je napisao `činilo se kao da nije pokopan običan smrtnik, već sama engleska povijest`. Ipak, Haffner je bio razočaran što Churchill nije prihvatio njegove ideje za Njemačku legiju slobode, njemačku akademiju u egzilu i njemački odbor. Premijer je bio spreman koristiti antinacističke Nijemce kao savjetnike, tehničke stručnjake i agente u specijalnim snagama, ali nije smjelo postojati londonski ekvivalent moskovskom `Nacionalnom odboru za slobodnu Njemačku`. Neal Ascherson ipak vjeruje da je moguće da su neke od Churchillovih ideja o poslijeratnoj Njemačkoj imale `korijene u dijelovima Haffnerove knjige`.[20] Poslijeratno novinarstvo Njemačka divizija Godine 1941. David Astor pozvao je Haffnera da se pridruži The Observeru kao politički dopisnik, dok ga je Edward Hulton angažirao kao suradnika popularnog Picture Posta. Inozemni urednik Observera i utjecajan u Engleskoj, Haffner je 1948. postao naturalizirani britanski državljanin. Kroz takozvani Shanghai Club (nazvan po restoranu u Sohou) družio se s lijevo orijentiranim i emigrantskim novinarima, među kojima su E. H. Carr, George Orwell, Isaac Deutscher, Barbara Ward i Jon Kimche[21]. David Astor je po povratku s ratne službe aktivnije sudjelovao u uređivačkim poslovima i došlo je do sukoba mišljenja. Nakon putovanja u Sjedinjene Države iz McCarthyjeve ere, Haffner se zapalio u Sjevernoatlantski savez,[22] i (zajedno s Paulom Setheom iz Frankfurter Allgemeine Zeitunga)[23] nije htio odbaciti kao blef Staljinovu notu iz ožujka 1952. ponuda sovjetskog povlačenja u zamjenu za njemačku neutralnost. Godine 1954. prihvatio je financijski velikodušnu ponudu da se prebaci u Berlin kao njemački dopisnik The Observera.[24] U Njemačkoj je Haffner također pisao za konzervativni nacionalni Die Welt, koji je tada uređivao veteran Kapp Putcha, Hans Zehrer. Izdavač Axel Springer dopustio je raspravu o neutralnosti (`austrijskom rješenju`) kao temelju za konačnu njemačku nagodbu,[25] što se nije definitivno odbacilo sve do izgradnje Berlinskog zida u rujnu 1961. godine. Haffner se pridružio Springeru u ogorčenju protiv neučinkovitosti odgovora zapadnih saveznika na zatvaranje Sovjetskog bloka u Njemačkoj, stav koji je potaknuo njegov konačni raskid s Astorom i The Observerom.[24] U skladu sa svojom vizijom nakon Reicha iz 1940., Haffner se u načelu nije protivio postojanju druge njemačke države. Godine 1960. spekulirao je o budućnosti DDR-a kao `Pruske slobodne države` poigravajući se, možda, nacionalboljševističkim idejama Ernsta Niekischa.[26] Nakon konsolidacije zida, i u raskidu s Axelom Springerom, [27] Haffner nije trebao vidjeti drugu alternativu osim formalno priznati Istočnu Njemačku sovjetskog bloka. Od 1969. podržavao je Ostpolitik novog socijaldemokratskog kancelara Willa Brandta.[28][29] Afera Spiegel Dana 26. listopada 1962. u hamburškim uredima Der Spiegela izvršena je racija d zatvorila policija. Uhićeni su izdavač Rudolf Augstein, zajedno s dva glavna urednika tjednika i novinarom. Ministar obrane Franz Josef Strauss iznio je optužbe za izdaju (Landesverrat) u vezi s člankom u kojem se detaljno opisuje NATO projekcija `zamislivog kaosa` u slučaju sovjetskog nuklearnog napada i kritizira nespremnost Vlade. U izjavi koju je kasnije bio dužan poreći, Strauss je zanijekao da je pokrenuo policijsku akciju.[30] Springer mu je ponudio tiskare, teletipove i uredski prostor kako bi Der Spiegel mogao nastaviti objavljivati.[31] No, po cijenu svakog daljnjeg pristupa Die Weltu Haffner je u Süddeutsche Zeitungu (8. studenog 1962.) izjavio o kršenju slobode tiska i ustavnih normi. Pozivajući se na bauk republikanskog kolapsa 1933., Haffner je tvrdio da je njemačka demokracija u ravnoteži. Poistovjećujući se s onim što se moglo smatrati ključnom prekretnicom u kulturi Savezne Republike daleko od poštovanja koje je zahtijevala stara Obrigkeitsstaat (autoritarna država)[32] Haffner je pronašao novo i liberalnije čitateljstvo u Frankfurter Allgemeine Zeitungu, i s tjednicima Die Zeit i Stern magazinom.[24] Studentski prosvjed i kampanja protiv Springera Zajedno s mladim piscima i aktivistima nove poslijeratne generacije, Haffner je vjerovao da Savezna Republika plaća cijenu za Adenauerovo pragmatično odbijanje da vrši pritisak na obračun zločina iz nacističke ere. Uz implicitno pozivanje na njih, u Stern Haffner je kao `sustavni, hladnokrvni, planirani pogrom` osudio policijske nerede u zapadnom Berlinu u kojima je ubijen studentski prosvjednik Benno Ohnesorg.[33] Dana 2. lipnja 1967., okupljeni razotkrivanjem Ulrike Meinhof u časopisu New Left konkret njemačkog suučesništva u pahlavijevoj diktaturi, studenti su demonstrirali protiv posjeta iranskog šaha. Kada su iranski protudemonstranti, uključujući agente šahove obavještajne službe, napali studente, policija se pridružila sukobu premlaćivajući studente u sporednu ulicu gdje je policajac ispalio svoju bočnu ruku.[34] Doprinoseći konkretu (kasnije se pokazalo da su ga subvencionirali Istočni Nijemci)[35] Haffner je napisao da je `Studentskim pogromom 2. lipnja 1967. fašizam u Zapadnom Berlinu skinuo masku`.[36][37] Sve više usredotočeni na rat u Vijetnamu (`Auschwitz naše generacije`),[38] mnogi, uključujući Haffnerovu kćer Sarah,[39] usmjerili su svoj bijes na njegovog bivšeg poslodavca, Axela Springera. Nakon pokušaja atentata na socijalističkog studentskog vođu Rudija Dutschkea 11. travnja 1968., Springerovi naslovi (Bild : “Studenti prijete: Uzvraćamo udarac”,[40] “Zaustavite teror mladih crvenih-odmah!”)[41] ponovno optužen za poticanje.[37] Morgenpost je odgovorio na prosvjednu blokadu svojih tiska predlažući paralele s Kristalnom noći: `tada su Židovima oteli njihova imovina; danas je Springer koncern taj koji je ugrožen`.[42] Ulrike Meinhof Brandtovi socijaldemokrati niti Stern nisu cijenili Haffnerov doprinos ovom guranju `različitosti na vrh` (`Zuspitzung`)[3], a posebno ne nakon što je Meinhof poduzela ono što je smatrala sljedećim logičnim korakom u borba s `fašizmom`. `Prosvjed`, napisala je, `je kada kažem da mi se ovo ne sviđa. Otpor je kada stanem na kraj onome što mi se ne sviđa.`[43] Dana 19. svibnja 1972., frakcija Crvene armije (` Baader Meinhof Gang`) bombardirao je Springerovo sjedište u Hamburgu, ozlijedivši 17 ljudi. Tjedan dana prije nego što su preuzeli svoju prvu žrtvu, američkog časnika ubijenog cijevnom bombom u američkom vojnom stožeru u Frankfurtu na Majni.[44] Poput romanopisaca Heinricha Bölla i Gunthera Grassa, Haffner nije odolio iskušenju, stavljajući Meinhofova djela u perspektivu, daljnjeg napada na Bild;[45] `nitko`, tvrdio je, nije učinio više da zasadi `sjeme svijeta`. nasilja` nego Springer novinarstvo.[46][45] Ipak, Haffner je izrazio užasnutost brojem ljudi na lijevoj strani za koje je vjerovao da bi, ako bi ga zamolili, ponuditi odbjeglu Ulrike krevet za noćenje i doručak. Ništa, upozorio je, ne može poslužiti za diskreditaciju ljevice i predanosti reformama više od romantiziranja terorizma.[47] Slavimo novi liberalizam Haffner se nije složio s strogošću nekih sigurnosnih mjera koje je odobrila Brandtova vlada. Prigovorio je Radikalenerlass-u (Anti-radikalnom dekretu) iz 1972. godine koji je uspostavio Berufsverbot koji zabranjuje određena zanimanja u javnom sektoru osobama s `ekstremnim` političkim stavovima. Marksisti, tvrdio je, moraju moći biti učitelji i sveučilišni profesori `ne zato što su liberali, već zato što smo mi liberali` (Stern, 12. ožujka 1972.). Međutim, Haffner više nije spominjao policijske `pogrome` ili režimski neofašizam. Šezdesetih godina prošlog stoljeća policija je možda tukla demonstrante na ulicama, ali nitko, usprotivio se, nikada nije `čuo da su ih mučili`.[48] Zapadna Njemačka se promijenila. Možda nije učinio dovoljno da se pomiri s poviješću Reicha, ali je, u Haffneru `s pogled, `udaljio se od toga s lakoćom kakvu nitko nije očekivao`. Stari autoritarizam, osjećaj da ste `subjekt` države, bio je `passé`. Atmosfera je postala `liberalnija, tolerantnija`. Iz nacionalističkog, militarističkog Volka proizašla je relativno skromna, kozmopolitska (`weltbürgerlich`) javnost.[48] Ipak, za neke od Haffnerovih čitatelja trebalo je postojati još jedno, i `apsurdno`, volte lice.[49] `Dalje ruke` od Francove Španjolske U listopadu 1975. uredništvo časopisa Stern odbilo je Haffnerov podnesak uz obrazloženje da je prekršila opredijeljenost časopisa prema `demokratskom ustavnom poretku i progresivno-liberalnim principima`.[50] U onome što je trebalo dokazati svoju posljednju primjenu smrtne kazne, 27. rujna 1975. (samo dva mjeseca prije Francove smrti) Španjolska je pogubila dva člana naoružane baskijske separatističke skupine ETA i tri člana Revolucionarne antifašističke patriotske fronte (FRAP) zbog ubojstva policajaca i civilne garde. Ne samo da se Haffner odbio pridružiti općoj međunarodnoj osudi, nego se činilo da je pozitivno branio španjolsku diktaturu. U djelu provokativno nazvanom `Ruke od Španjolske`, ustvrdio je da Španjolska nije prošla loše u svojih trideset i šest godina pod Francom. Možda nije bilo političke slobode, ali je bilo ekonomske modernizacije i napretka.[51] Mnogima se činilo da je Haffner pretjerao sa svojom reputacijom provokatora, enfant terrible. Čitateljstvo mu je navodno opadalo: već je pao s liste vodećih zapadnonjemačkih novinara Allensbach instituta.[49] Haffner je dopustio da se možda kretao desno dok se Stern kretao lijevo. U svom posljednjem tekstu u Sternu u listopadu 1975., Haffner je tvrdio da nije požalio što je podržao Brandtovu Ostpolitik ili promjenu režima iz demokršćanskog u socijaldemokratski. To je bilo `neophodno`. Ali priznao je neko razočaranje. Relaksacija hladnoratovskih tenzija nije donijela mnogo toga (DDR je, ako ništa drugo, očvrsnuo `otkad smo bili ljubazni prema njima`), a interno, BRD, Savezna Republika, doživjela je bolja vremena.[52] Od Bismarcka do Hitlera U dobi od 68 godina Haffner se odlučio posvetiti svojim popularnim komentarima o njemačkoj povijesti. Već su neke od njegovih serijalizacija u Sternu pretvorene u bestselere. Die verratene Revolution (1968.), Haffnerova optužnica protiv socijaldemokrata u slomu 1918. kao lojalista Reichu, doživjela je trinaest izdanja. Kao i sav njegov rad, ostao je bez fusnota, napisan za popularnu publiku (Haffner je tvrdio da mrzi knjige koje ne možeš ponijeti u krevet).[53] Anmerkungen zu Hitler (1978.) (objavljen na engleskom kao The Meaning of Hitler) prodan je u milijun primjeraka. (Golo Mann ju je nazvao `duhovitim, originalnim i pojašnjavajućim knjigom... izvrsno prikladnom za raspravu u višim razredima škola`) [54] Proširujući svoj ratni `psihogram Führera` u Njemačkoj: Jekyll i Hyde, knjiga stavio Hitlera u sjenu revolucije koju su Ebert i Noske izdali.[55] Hitler, priznao je Haffner, nije bio Prus. Pruska je bila `država utemeljena na zakonu`, a njezina politika nacionalnosti uvijek je `pokazivala plemenitu toleranciju i ravnodušnost`.[56] No, sažeto u Haffnerovoj posljednjoj knjizi, Von Bismarck zu Hitler (1987), ostala je šira teza. Kroz `revolucije` 1918. i 1933. Reich koji je stvorio Pruski izdržao je s istim poticajnim uvjerenjem. Djelomično iz svoje geopolitičke izloženosti, Reich je bio ili velika sila ili će propasti.[57] S obzirom na njihovo iskustvo s ovim Reichom, Haffner je bio uvjeren da njemački susjedi nikada neće dopustiti nasljednika:[58] `zvona za uzbunu bi se oglasila ako bi se novi blok snaga od 80 milijuna snaga ponovno podigao na njihovim granicama.`[59] ] Smrt i obitelj Godine 1989./90., dok je Gorbačov pomrsio svoje proračune i Zid je pao, Haffner se navodno bojao da su Nijemci bili manje ublaženi traumama iz 1945. – poukama koje je pokušao izvući – nego posljedicama podjele njihove zemlje. Nije bio siguran hoće li Nijemce možda ponovno zahvatiti nacionalna megalomanija.[60] Prema riječima njegove kćeri Sarah, miran tijek ujedinjenja mu je bio ugodan, ali ga je, možda, osjećao oštrije da je nadživio svoje vrijeme.[19] Haffner je preminuo 2. siječnja 1999. u 91. godini. Christa Rotzoll, novinarka s kojom se Haffner oženio nakon što je ostao udovac 1969., preminula ga je 1995. godine. Haffnera je preživjelo njegovo dvoje djece s Erikom Schmidt-Landry. Sarah Haffner (1940.–2018.) bila je slikarica i feministička redateljica dokumentarnih filmova.[61] Vjerovala je da je njezina vlastita politička uključenost možda igrala određenu ulogu u angažmanu njezina oca u studentskom pokretu 1960-ih.[19] Njegov sin, Oliver Pretzel (1938-), bio je profesor matematike na Imperial College Londonu. Nakon očeve smrti sabrao je memoare započete početkom 1939., ali napuštene zbog hitnije propagandne vrijednosti Njemačke: Jekyll & Hyde, i dogovorio njegovo objavljivanje kao Geschichte eines Deutschen/Pkoseći Hitleru. U sjećanju Marcela Reich-Ranickog Haffnerov bliski prijatelj, preživjeli holokaust i književni kritičar Marcel Reich-Ranicki (1920-2013), primijetio je da Haffnerove knjige nisu bile samo poučne kao i njegov razgovor, nego su bile i zabavne. Njemački novinari ili povjesničari koji su živjeli u egzilu u Engleskoj ili Sjedinjenim Državama radili su za tamošnji tisak, sugerirao je Reich-Ranicki, pisali drugačije nego prije. Čak i nakon povratka pisali su `jasnijim, živahnijim` stilom koji bi mogao biti i činjeničniji i duhovitiji. To je, doznali su, kombinacija `moguća i na njemačkom`.

Odlično Nil Jang Biografija Neil Percival Young OC OM[1][2] (born November 12, 1945) is a Canadian and American[3] singer and songwriter. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining the folk-rock group Buffalo Springfield. Since the beginning of his solo career, often with backing by the band Crazy Horse, he has released critically acclaimed albums such as Everybody Knows This Is Nowhere (1969), After the Gold Rush (1970), Harvest (1972), On the Beach (1974), and Rust Never Sleeps (1979). He was also a part-time member of Crosby, Stills, Nash & Young, with whom he recorded the chart-topping 1970 album Déjà Vu. His guitar work, deeply personal lyrics[4][5][6] and signature high tenor singing voice[7][8] define his long career. Young also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical genres. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname `Godfather of Grunge`[9] and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real.[10] Young directed (or co-directed) films using the pseudonym `Bernard Shakey`, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), CSNY/Déjà Vu (2008), and Harvest Time (2022). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995). Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield.[11] In 2023, Rolling Stone named Young No. 30 on their list of 250 greatest guitarists of all time.[12] Young is also on Rolling Stone`s list of the 100 greatest musical artists. 21 of his albums and singles have been certified Gold and Platinum in U.S. by RIAA certification.[13] Young was awarded the Order of Manitoba in 2006[2] and was made an Officer of the Order of Canada in 2009.[1] Early life (1945–1963)[edit] Neil Young[14] was born on November 12, 1945, in Toronto, Canada.[15][16] His father, Scott Alexander Young (1918–2005), was a journalist and sportswriter who also wrote fiction.[17] His mother, Edna Blow Ragland `Rassy` Young (1918–1990) was a member of the Daughters of the American Revolution.[18] Although Canadian, his mother had American and French ancestry.[19] Young`s parents married in 1940 in Winnipeg, Manitoba, and moved to Toronto shortly thereafter where their first son, Robert `Bob` Young, was born in 1942. Shortly after Young`s birth in 1945, the family moved to rural Omemee, Ontario, which Young later described fondly as a `sleepy little place`.[20] Young contracted polio in the late summer of 1951 during the last major outbreak of the disease in Ontario, and as a result, became partially paralyzed on his left side.[21] After the conclusion of his hospitalization, the Young family wintered in Florida, whose milder weather they believed would help Neil`s convalescence.[22] During that period, Young briefly attended Faulkner Elementary School in New Smyrna Beach, Florida. In 1952, upon returning to Canada, Young moved from Omemee to Pickering (1956), and lived for a year in Winnipeg (where he would later return), before relocating to Toronto (1957–1960). While in Toronto, Young briefly attended Lawrence Park Collegiate Institute as a first year student in 1959.[23] It is rumoured that he was expelled for riding a motorcycle down the hall of the school.[24] Young became interested in popular music he heard on the radio.[25] When Young was twelve, his father, who had had several extramarital affairs, left his mother. She asked for a divorce, which was granted in 1960.[26] She moved back to Winnipeg and Young went to live with her there, while his brother Bob stayed with their father in Toronto.[27] During the mid-1950s, Young listened to rock `n roll, rockabilly, doo-wop, R&B, country, and western pop. He idolized Elvis Presley and later referred to him in a number of his songs.[28] Other early musical influences included Link Wray,[29] Lonnie Mack,[30] Jimmy Gilmer and the Fireballs, The Ventures, Cliff Richard and the Shadows,[31] Chuck Berry, Hank Marvin, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, the Fleetwoods, Jerry Lee Lewis, Johnny Cash, Roy Orbison and Gogi Grant.[32] Young began to play music himself on a plastic ukulele, before, as he would later relate, going on to `a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar.`[33] Career[edit] Early career (1963–1966)[edit] Young and his mother settled into the working-class area of Fort Rouge, Winnipeg, where he enrolled at Earl Grey Junior High School. It was there that he formed his first band, the Jades, and met Ken Koblun. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands, eventually dropping out of school in favour of a musical career.[34] Young`s first stable band was the Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called `The Sultan`. Over a three-year period the band played hundreds of shows at community centres, dance halls, clubs and schools in Winnipeg and other parts of Manitoba. The band also played in Fort William (now part of the city of Thunder Bay, Ontario), where they recorded a series of demos produced by a local producer, Ray Dee, whom Young called `the original Briggs,` referring to his later producer David Briggs.[35] While playing at The Flamingo, Young met Stephen Stills, whose band The Company was playing the same venue, and they became friends.[36] The Squires primarily performed in Winnipeg and rural Manitoba in towns such as Selkirk, Neepawa, Brandon and Giroux (near Steinbach), with a few shows in northern Ontario.[37] After leaving the Squires, Young worked folk clubs in Winnipeg, where he first met Joni Mitchell.[38] Mitchell recalls Young as having been highly influenced by Bob Dylan at the time.[39] Young said Phil Ochs was `a big influence on me,` telling a radio station in 1969 that Ochs was `on the same level with Dylan in my eyes.`[40] Here he wrote some of his earliest and most enduring folk songs such as `Sugar Mountain`, about lost youth. Mitchell wrote `The Circle Game` in response.[41] The Winnipeg band The Guess Who (with Randy Bachman as lead guitarist) had a Canadian Top 40 hit with Young`s `Flying on the Ground is Wrong`, which was Young`s first major success as a songwriter.[42] In 1965, Young toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds. The band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Navy Reserve.[43] After the Mynah Birds disbanded, Young and the bass player Bruce Palmer decided to pawn the group`s musical equipment and buy a Pontiac hearse, which they used to relocate to Los Angeles.[44] Young admitted in a 2009 interview that he was in the United States illegally until he received a `green card` (permanent residency permit) in 1970.[45] Buffalo Springfield (1966–1968)[edit] Main article: Buffalo Springfield Once they reached Los Angeles, Young and Palmer met up with Stephen Stills and Richie Furay after a chance encounter in traffic on Sunset Boulevard.[44] Along with Dewey Martin, they formed Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills` topical song `For What It`s Worth` became a hit, aided by Young`s melodic harmonics played on electric guitar. According to Rolling Stone, the Rock and Roll Hall of Fame and other sources, Buffalo Springfield helped create the genres of folk rock and country rock.[46][47] Distrust of their management, as well as the arrest and deportation of Palmer, worsened the already strained relations among the group members and led to Buffalo Springfield`s demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of Young`s three contributions were solo tracks recorded apart from the rest of the group. From that album, `Mr. Soul` was the only Young song of the three that all five members of the group performed together.[citation needed] In May 1968, the band split up for good, but to fulfill a contractual obligation, a final studio album, Last Time Around, was released. Young contributed the songs `On the Way Home` and `I Am a Child`, singing lead on the latter.[citation needed] In 1997, the band was inducted into the Rock and Roll Hall of Fame; Young did not appear at the ceremony, writing in a letter to the Hall that their presentation, which was aired on VH1, `has nothing to do with the spirit of Rock and Roll. It has everything to do with making money.`[48] Young played as a studio session guitarist for some 1968 recordings by The Monkees which appeared on the Head and Instant Replay albums.[49] Going solo, Crazy Horse (1968–1969)[edit] Main article: Crazy Horse (band) After the breakup of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts. Roberts managed Young until Roberts` death in 2019. Young and Roberts immediately began work on Young`s first solo record, Neil Young (January 22, 1969),[50] which received mixed reviews. In a 1970 interview,[51] Young deprecated the album as being `overdubbed rather than played.` For his next album, Young recruited three musicians from a band called the Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969) is credited to `Neil Young with Crazy Horse`. Recorded in just two weeks, the album includes `Cinnamon Girl`, `Cowgirl in the Sand`, and `Down by the River`. Young reportedly wrote all three songs in bed on the same day while nursing a high fever of 39 °C (102 °F).[52] Crosby, Stills, Nash, and Young (1969–1970)[edit] Main article: Crosby, Stills, Nash & Young Shortly after the release of Everybody Knows This Is Nowhere, Young reunited with Stephen Stills by joining Crosby, Stills & Nash, who had already released one album Crosby, Stills & Nash as a trio in May 1969. Young was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 Best New Artist Grammy Award – was renamed Crosby, Stills, Nash & Young.[53] The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which Young skipped the majority of the acoustic set and refused to be filmed during the electric set, even telling the cameramen: `One of you fuckin` guys comes near me and I`m gonna fuckin` hit you with my guitar`.[54] During the making of their first album, Déjà Vu (March 11, 1970), the musicians frequently argued, particularly Young and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize Young, saying that he `wanted to play folk music in a rock band.`[55] Despite the tension, Young`s tenure with CSNY coincided with the band`s most creative and successful period, and greatly contributed to his subsequent success as a solo artist.[citation needed] Young wrote `Ohio` following the Kent State massacre on May 4, 1970. The song was quickly recorded by CSNY and immediately released as a single, even though CSNY`s `Teach Your Children` was still climbing the singles charts.[citation needed] After the Gold Rush, acoustic tour and Harvest (1970–1972)[edit] Later in the year, Young released his third solo album, After the Gold Rush (August 31, 1970), which featured, among others, Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. Young also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. Young`s newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including `Tell Me Why` and `Don`t Let It Bring You Down`; the singles `Only Love Can Break Your Heart` and `When You Dance I Can Really Love`; and the title track, `After the Gold Rush`, played on piano, with dreamlike lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. Young`s bitter condemnation of racism in the heavy blues-rock song `Southern Man` (along with a later song entitled `Alabama`) was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry Young by name in the lyrics to their hit `Sweet Home Alabama`. However, Young said he was a fan of Skynyrd`s music, and the band`s front man Ronnie Van Zant was later photographed wearing a Tonight`s the Night T-shirt on the cover of an album.[1] Young in the 1970s In the autumn of 1970, Young began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs premiered by Young on the tour, like `Journey through the Past`, would never find a home on a studio album, while other songs, like `See the Sky About to Rain`, would only be released in coming years. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto`s Massey Hall, which were taped for a planned live album. The shows became legendary among Young fans, and the recordings were officially released nearly 40 years later as an official bootleg in Young`s Archive series.[citation needed] Near the end of his tour, Young performed one of the new acoustic songs on the Johnny Cash TV show. `The Needle and the Damage Done`, a somber lament on the pain caused by heroin addiction, had been inspired in part by Crazy Horse member Danny Whitten, who eventually died while battling his drug problems.[56][57] While in Nashville for the Cash taping, Young accepted the invitation of Quadrafonic Sound Studios owner Elliot Mazer to record tracks there with a group of country-music session musicians who were pulled together at the last minute. Making a connection with them, he christened them The Stray Gators, and began playing with them. Befitting the immediacy of the project, Linda Ronstadt and James Taylor were brought in from the Cash taping to do background vocals. Against the advice of his producer David Briggs, he scrapped plans for the imminent release[58] of the live acoustic recording in favor of a studio album consisting of the Nashville sessions, electric-guitar oriented sessions recorded later in his barn, and two recordings made with the London Symphony Orchestra at Barking (credited as Barking Town Hall and now the Broadway Theatre) during March 1971.[59] The result was Young`s fourth album, Harvest (February 14, 1972), which was also the best selling album of 1972 in the US.[60] After his success with CSNY, Young purchased a ranch in the rural hills above Woodside and Redwood City in Northern California (`Broken Arrow Ranch`, where he lived until his divorce in 2014).[61] He wrote the song `Old Man` in honor of the land`s longtime caretaker, Louis Avila. The song `A Man Needs a Maid` was inspired by his relationship with actress Carrie Snodgress. `Heart of Gold` was released as the first single from Harvest, the only No. 1 hit in his career.[62] `Old Man` was also popular, reaching No. 31 on the Billboard Hot 100 chart, marking Young`s third and final appearance in the chart`s Top 40 as a solo artist.[62] The album`s recording had been almost accidental. Its mainstream success caught Young off guard, and his first instinct was to back away from stardom. In the Decade (1977) compilation, Young chose to include his greatest hits from the period, but his handwritten liner notes famously described `Heart of Gold` as the song that `put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there.`[63] The `Ditch` Trilogy and personal struggles (1972–1974)[edit] Although a new tour with The Stray Gators (now augmented by Danny Whitten) had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an apparent alcohol/diazepam overdose. Young described the incident to Rolling Stone`s Cameron Crowe in 1975: `[We] were rehearsing with him and he just couldn`t cut it. He couldn`t remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. `It`s not happening, man. You`re not together enough.` He just said, `I`ve got nowhere else to go, man. How am I gonna tell my friends?` And he split. That night the coroner called me from L.A. and told me he`d OD`d. That blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and ... insecure.`[45] On the tour, Young struggled with his voice and the performance of drummer Kenny Buttrey, a noted Nashville session musician who was unaccustomed to performing in the hard rock milieu; Buttrey was eventually replaced by former CSNY drummer Johnny Barbata, while David Crosby and Graham Nash contributed rhythm guitar and backing vocals to the final dates of the tour. The album assembled in the aftermath of this incident, Time Fades Away (October 15, 1973), has often been described by Young as `[his] least favorite record`, and was not officially released on CD until 2017 (as part of Young`s Official Release Series). Nevertheless, Young and his band tried several new musical approaches in this period. Time Fades Away, for instance, was recorded live, although it was an album of new material, an approach Young would repeat with more success later on. Time was the first of three consecutive commercial failures which would later become known collectively to fans as the `Ditch Trilogy`, as contrasted with the more middle-of-the-road pop of Harvest.[64] - Young in Austin, Texas, on November 9, 1976 In the second half of 1973, Young formed The Santa Monica Flyers, with Crazy Horse`s rhythm section augmented by Nils Lofgren on guitar and piano and Harvest/Time Fades Away veteran Ben Keith on pedal steel guitar. Deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, Young recorded an album specifically inspired by the incidents, Tonight`s the Night (June 20, 1975). The album`s dark tone and rawness led Reprise to delay its release and Young had to pressure them for two years before they would do so.[65] While his record company was stalling, Young recorded another album, On the Beach (July 16, 1974), which presented a more melodic, acoustic sound at times, including a recording of the older song `See the Sky About to Rain`, but dealt with similarly dark themes such as the collapse of 1960s folk ideals, the downside of success and the underbelly of the Californian lifestyle. Like Time Fades Away, it sold poorly but eventually became a critical favorite, presenting some of Young`s most original work. A review of the 2003 re-release on CD of On the Beach described the music as `mesmerizing, harrowing, lucid, and bleary`.[66] After completing On the Beach, Young reunited with Harvest producer Elliot Mazer to record another acoustic album, Homegrown. Most of the songs were written after Young`s breakup with Carrie Snodgress, and thus the tone of the album was somewhat dark. Though Homegrown was reportedly entirely complete, Young decided, not for the first or last time in his career, to drop it and release something else instead, in this case, Tonight`s the Night, at the suggestion of Band bassist Rick Danko.[67] Young further explained his move by saying: `It was a little too personal ... it scared me`.[67] Most of the songs from Homegrown were later incorporated into other Young albums while the original album was not released until 2020. Tonight`s the Night, when finally released in 1975, sold poorly, as had the previous albums of the `ditch` trilogy, and received mixed reviews at the time, but is now regarded as a landmark album. In Young`s own opinion, it was the closest he ever came to art.[68] Reunions, retrospectives and Rust Never Sleeps (1974–1979)[edit] Young reunited with Crosby, Stills, and Nash after a four-year hiatus in the summer of 1974 for a concert tour which was partially recorded; highlights were ultimately released in 2014 as CSNY 1974. It was one of the first ever stadium tours, and the largest tour in which Young has participated to date.[69] In 1975, Young reformed Crazy Horse with Frank Sampedro on guitar as his backup band for his eighth album, Zuma (November 10, 1975). Many of the songs dealt with the theme of failed relationships; `Cortez the Killer`, a retelling of the Spanish conquest of Mexico from the viewpoint of the Aztecs, may also be heard as an allegory of love lost. Zuma`s closing track, `Through My Sails`, was the only released fragment from aborted sessions with Crosby, Stills and Nash for another group album.[citation needed] In 1976, Young reunited with Stephen Stills for the album Long May You Run (September 20, 1976), credited to The Stills-Young Band; the follow-up tour was ended midway through by Young, who sent Stills a telegram that read: `Funny how some things that start spontaneously end that way. Eat a peach, Neil.`[70] The Last Waltz, Young (center on left microphone) performing with Bob Dylan and The Band, among others in 1976 In 1976, Young performed with Bob Dylan, Joni Mitchell, and numerous other rock musicians in the high-profile all-star concert The Last Waltz, the final performance by The Band. The release of Martin Scorsese`s movie of the concert was delayed while Scorsese unwillingly re-edited it to obscure the lump of cocaine that was clearly visible hanging from Young`s nose during his performance of `Helpless`.[71] American Stars `n Bars (June 13, 1977) contained two songs originally recorded for the Homegrown album, `Homegrown` and `Star of Bethlehem`, as well as newer material, including the future concert staple `Like a Hurricane`. Performers on the record included Linda Ronstadt, Emmylou Harris and Young protégé Nicolette Larson along with Crazy Horse. In 1977, Young also released the compilation Decade, a personally selected set of songs spanning every aspect of his work, including a handful of previously unreleased songs. The record included less commercial album tracks alongside radio hits.[citation needed] In June 1977 Young joined with Jeff Blackburn, Bob Mosley and John Craviotto (who later founded Craviotto drums) to form a band called The Ducks. Over a 7-week period the band performed 22 shows in Santa Cruz CA but were not allowed to appear beyond city limits due to Young`s Crazy Horse contract. In April 2023 Young officially released a double album of songs culled from the band`s performances at multiple venues as well as from sessions at a local recording studio. The double album was part of the Neil Young Archives project positioned within the Official Bootleg Series, titled High Flyin`. Comes a Time (October 2, 1978), Young`s first entirely new solo recording since the mid-1970s, marked a return to the commercially accessible, Nashville-inspired sound of Harvest while also featuring contributions from Larson and Crazy Horse. The album also marked a return to his folk roots, as exemplified by a cover of Ian Tyson`s `Four Strong Winds`, a song Young associated with his childhood in Canada. Another of the album`s songs, `Lotta Love`, was also recorded by Larson, with her version reaching No. 8 on the Billboard Hot 100 in February 1979. In 1978, much of the filming was done for Young`s film Human Highway, which took its name from a song featured on Comes a Time. Over four years, Young would spend US$3,000,000 of his own money on production (US$14,014,286 in 2023 dollars[72]). This also marked the beginning of his brief collaboration with the art punk band Devo, whose members appeared in the film.[73] Young set out in 1978 on the lengthy Rust Never Sleeps tour, in which he played a wealth of new material. Each concert was divided into a solo acoustic set and an electric set with Crazy Horse. The electric sets, featuring an abrasive style of playing, were influenced by the punk rock zeitgeist of the late 1970s and provided a stark contrast from Comes a Time.[74] Two new songs, the acoustic `My My, Hey Hey (Out of the Blue)` and electric `Hey Hey, My My (Into the Black)` were the centerpiece of the new material. During the filming of Human Highway, Young had collaborated with Devo on a cacophonous version of `Hey Hey, My My` at the Different Fur studio in San Francisco and would later introduce the song to Crazy Horse.[75] The lyric `It`s better to burn out than to fade away` was widely quoted by his peers and by critics.[75] The album has also widely been considered a precursor of grunge music with the bands Nirvana and Pearl Jam having cited Young`s heavily distorted and abrasive guitar style on the B side to this album as an inspiration.[76] Young also compared the rise of Johnny Rotten with that of the recently deceased `King` Elvis Presley, who himself had once been disparaged as a dangerous influence only to later become an icon. Rotten returned the favor by playing one of Young`s songs, `Revolution Blues` from On the Beach, on a London radio show, an early sign of Young`s eventual embrace by a number of punk-influenced alternative musicians.[77] Young`s two accompanying albums Rust Never Sleeps (July 2, 1979; new material culled from live recordings, but featuring studio overdubs) and Live Rust (November 19, 1979; a genuine concert recording featuring old and new material) captured the two sides of the concerts, with solo acoustic songs on side A, and fierce, uptempo, electric songs on side B. A movie version of the concerts, also called Rust Never Sleeps (1979), was directed by Young under the pseudonym `Bernard Shakey`. Young worked with rock artist Jim Evans to create the poster art for the film, using the Star Wars Jawas as a theme. Young`s work since Harvest had alternated between being rejected by mass audiences and being seen as backward-looking by critics, sometimes both at once, and now he was suddenly viewed as relevant by a new generation, who began to discover his earlier work. Readers and critics of Rolling Stone voted him Artist of the Year for 1979 (along with The Who), selected Rust Never Sleeps as Album of the Year, and voted him Male Vocalist of the Year as well.[78] The Village Voice named Rust Never Sleeps as the year`s second best album in the Pazz & Jop Poll,[79] a survey of nationwide critics, and honored Young as the Artist of the Decade.[80] Experimental years (1980–1988)[edit] At the start of the 1980s, distracted by medical concerns relating to the cerebral palsy of his son, Ben, Young had little time to spend on writing and recording.[81] After providing the incidental music to the 1980 film Where the Buffalo Roam, Young released Hawks & Doves (November 3, 1980), a short record pieced together from sessions going back to 1974.[81] Re·ac·tor (1981), an electric album recorded with Crazy Horse, also included material from the 1970s.[82] Young did not tour in support of either album; in total, he played only one show, a set at the 1980 Bread and Roses Festival in Berkeley,[83] between the end of his 1978 tour with Crazy Horse and the start of his tour with the Trans Band in mid-1982.[citation needed] The 80s were really good. The 80s were like, artistically, very strong for me, because I knew no boundaries and was experimenting with everything that I could come across, sometimes with great success, sometimes with terrible results, but nonetheless I was able to do this, and I was able to realize that I wasn`t in a box, and I wanted to establish that. — Neil Young[84] The 1982 album Trans, which incorporated vocoders, synthesizers, and electronic beats, was Young`s first for the new label Geffen Records (distributed at the time by Warner Bros. Records, whose parent Warner Music Group owns most of Young`s solo and band catalog) and represented a distinct stylistic departure. Young later revealed that an inspiration for the album was the theme of technology and communication with Ben, who could not speak.[85] An extensive tour preceded the release of the album, and was documented by the video Neil Young in Berlin, which saw release in 1986. MTV played the video for `Sample and Hold` in light rotation.[citation needed] Young playing in Barcelona, Spain, 1984 Young`s next album, 1983`s Everybody`s Rockin`, included several rockabilly covers and clocked in at less than 25 minutes in length. Young was backed by the Shocking Pinks for the supporting US tour. Trans (1982) had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody`s Rockin` following seven months later, Geffen Records sued Young for making music `unrepresentative` of himself.[86] The album was also notable as the first for which Young made commercial music videos – Tim Pope directed the videos for `Wonderin`` and `Cry, Cry, Cry`. Also premiered in 1983, though little seen, was the long-gestating Human Highway. Co-directed and co-written by Young, the eclectic comedy starred Young, Dean Stockwell, Russ Tamblyn, Dennis Hopper, David Blue, Sally Kirkland, Charlotte Stewart and members of Devo.[87] Young did not release an album in 1984, his first unproductive year since beginning his career with Buffalo Springfield in 1966. Young`s lack of productivity was largely due to the ongoing legal battle with Geffen, although he was also frustrated that the label had rejected his 1982 country album Old Ways.[88] It was also the year when Young`s third child was born, a girl named Amber Jean, who was later diagnosed with inherited epilepsy.[89] Young spent most of 1984 and all of 1985 touring for Old Ways (August 12, 1985) with his country band, the International Harvesters. The album was finally released in an altered form midway through 1985. Young also appeared at that year`s Live Aid concert in Philadelphia, collaborating with Crosby, Stills and Nash for the quartet`s first performance for a paying audience in over ten years.[citation needed] Young`s last two albums for Geffen were more conventional in the genre, although they incorporated production techniques like synthesizers and echoing drums that were previously uncommon in Young`s music. Young recorded 1986`s Landing on Water without Crazy Horse but reunited with the band for the subsequent year-long tour and final Geffen album, Life, which emerged in 1987. Young`s album sales dwindled steadily throughout the eighties; today Life remains his all-time-least successful studio album, with an estimated four hundred thousand sales worldwide.[90] Switching back to his old label Reprise Records, Young continued to tour relentlessly, assembling a new blues band called The Bluenotes in mid-1987 (a legal dispute with musician Harold Melvin forced the eventual rechristening of the band as Ten Men Working midway through the tour). The addition of a brass section provided a new jazzier sound, and the title track of 1988`s This Note`s For You became Young`s first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. Young wrote an open letter, `What does the M in MTV stand for: music or money?` Despite this, the video was eventually named best video of the year by the network in 1989.[91] Young reunited with Crosby, Stills, and Nash to record the 1988 album American Dream and play two benefit concerts late in the year, but the group did not embark upon a full tour.[citation needed] Young attracted criticism from liberals in the music industry when he supported President Ronald Reagan and said he was `tired of people constantly apologising for being Americans`.[92] In a 1985 interview with Melody Maker, he said about the AIDS pandemic: `You go to a supermarket and you see a faggot behind the fuckin` cash register, you don`t want him to handle your potatoes.`[93] In the same interview, Young also complained about welfare beneficiaries, saying: `Stop being supported by the government and get out and work. You have to make the weak stand up on one leg, or half a leg, whatever they`ve got.`[94] Rolling Stone wrote in 2013 that Young `almost certainly regrets that horrific statement` and that he `quickly moved away from right-wing politics`.[93] Return to prominence (1989–1999)[edit] Young performing in 1996 in Turku, Finland Young`s 1989 single `Rockin` in the Free World`, which hit No. 2 on the US mainstream-rock charts, and accompanying the album, Freedom, returned Young to the popular consciousness after a decade of sometimes-difficult genre experiments. The album`s lyrics were often overtly political; `Rockin` in the Free World` deals with homelessness, terrorism, and environmental degradation, implicitly criticizing the government policies of President George H. W. Bush.[95] The use of heavy feedback and distortion on several Freedom tracks was reminiscent of the Rust Never Sleeps (1979) album and foreshadowed the imminent rise of grunge. The rising stars of the subgenre, including Nirvana`s Kurt Cobain and Pearl Jam`s Eddie Vedder, frequently cited Young as a major influence, contributing to his popular revival. A tribute album called The Bridge: A Tribute to Neil Young was released in 1989, featuring covers by a range of alternative and grunge acts, including Sonic Youth, Nick Cave, Soul Asylum, Dinosaur Jr, and the Pixies.[citation needed] Young`s 1990 album Ragged Glory, recorded with Crazy Horse in a barn on his Northern California ranch, continued this distortion-heavy aesthetic. Young toured for the album with Orange County, California country-punk band Social Distortion and Sonic Youth as support, much to the consternation of many of his old fans.[96] Weld, a two-disc live album documenting the tour, was released in 1991.[96] Sonic Youth`s influence was evident on Arc, a 35-minute collage of feedback and distortion spliced together at the suggestion of Thurston Moore and originally packaged with some versions of Weld.[96] 1992`s Harvest Moon marked an abrupt return (prompted by Young`s hyperacusis in the aftermath of the Weld tour) to the country and folk-rock stylings of Harvest and reunited him with some of the musicians from that album, including the core members of the Stray Gators and singers Linda Ronstadt and James Taylor. The title track was a minor hit, and the record was well received by critics, winning the Juno Award for Album of the Year in 1994. Young also contributed to lifelong friend Randy Bachman`s nostalgic 1992 tune `Prairie Town`, and garnered a 1993 Academy Award nomination for his song `Philadelphia`, from the soundtrack of the Jonathan Demme movie of the same name. An MTV Unplugged performance and album emerged in 1993. Later that year, Young collaborated with Booker T. and the M.G.s for a summer tour of Europe and North America, with Blues Traveler, Soundgarden, and Pearl Jam also on the bill. Some European shows ended with a rendition of `Rockin` in the Free World` played with Pearl Jam, foreshadowing their eventual full-scale collaboration two years later.[citation needed] Young on stage in Barcelona In 1994, Young again collaborated with Crazy Horse for Sleeps with Angels, a record whose dark, somber mood was influenced by Kurt Cobain`s death earlier that year: the title track in particular dealt with Cobain`s life and death, without mentioning him by name. Cobain had quoted Young`s lyric `It`s better to burn out than fade away` (a line from `My My, Hey Hey`) in his suicide note. Young had reportedly made repeated attempts to contact Cobain prior to his death.[97] Young and Pearl Jam performed `Act of Love` at an abortion rights benefit along with Crazy Horse, and were present at a Rock and Roll Hall of Fame dinner, sparking interest in a collaboration between the two.[98] Still enamored with the grunge scene, Young reconnected with Pearl Jam in 1995 for the live-in-the-studio album Mirror Ball and a tour of Europe with the band and producer Brendan O`Brien backing Young. 1995 also marked Young`s induction into the Rock and Roll Hall of Fame, where he was inducted by Eddie Vedder.[99] Young has consistently demonstrated the unbridled passion of an artist who understands that self-renewal is the only way to avoid burning out. For this reason, he has remained one of the most significant artists of the rock and roll era. — Rock and Roll Hall of Fame website.[99][100] In 1995, Young and his manager Elliot Roberts founded a record label, Vapor Records.[101] It has released recordings by Tegan and Sara, Spoon, Jonathan Richman, Vic Chesnutt, Everest, Pegi Young, Jets Overhead, and Young himself, among others.[101] Young`s next collaborative partner was filmmaker Jim Jarmusch, who asked Young to compose a soundtrack to his 1995 black-and-white western film Dead Man. Young`s instrumental soundtrack was improvised while he watched the film alone in a studio. The death of long-time mentor, friend, and producer David Briggs in late 1995 prompted Young to reconnect with Crazy Horse the following year for the album and tour Broken Arrow. A Jarmusch-directed concert film and live album of the tour, Year of the Horse, emerged in 1997. From 1996 to 1997, Young and Crazy Horse toured extensively throughout Europe and North America, including a stint as part of the H.O.R.D.E. Festival`s sixth annual tour.[citation needed] In 1998, Young renewed his collaboration with the rock band Phish, sharing the stage at the annual Farm Aid concert and then at Young`s Bridge School Benefit, where he joined headliners Phish for renditions of `Helpless` and `I Shall Be Released`.[102] Phish declined Young`s later invitation to be his backing band on his 1999 North American tour.[citation needed] The decade ended with the release in late 1999 of Looking Forward, another reunion with Crosby, Stills, and Nash. The subsequent tour of the United States and Canada with the reformed quartet earned US$42.1 million, making it the eighth largest grossing tour of 2000.[citation needed] Health condition and new material (2000s)[edit] Crosby, Stills, Nash & Young perform at the PNC Bank Arts Center in 2006. (From L to R: Nash, Stills, Young, and Crosby) Neil Young continued to release new material at a rapid pace through the first decade of the new millennium. The studio album Silver & Gold and live album Road Rock Vol. 1 were released in 2000 and were both accompanied by live concert films. His 2001 single `Let`s Roll` was a tribute to the victims of the September 11 attacks, and the effective action taken by the passengers and crew on Flight 93 in particular.[103] In 2003, Young released Greendale, a concept album recorded with Crazy Horse members Billy Talbot and Ralph Molina. The songs loosely revolved around the murder of a police officer in a small town in California and its effects on the town`s inhabitants.[104] Under the pseudonym `Bernard Shakey`, Young directed an accompanying film of the same name, featuring actors lip-synching to the music from the album. He toured extensively with the Greendale material throughout 2003 and 2004, first with a solo, acoustic version in Europe, then with a full-cast stage show in North America, Japan, and Australia. Young began using biodiesel on the 2004 Greendale tour, powering his trucks and tour buses with the fuel. `Our Greendale tour is now ozone friendly`, he said. `I plan to continue to use this government approved and regulated fuel exclusively from now on to prove that it is possible to deliver the goods anywhere in North America without using foreign oil, while being environmentally responsible.`[105] Stills and Young performing together on the Crosby, Stills, Nash & Young 2006 tour In March 2005, while working on the Prairie Wind album in Nashville,[106] Young was diagnosed with a brain aneurysm. He was treated successfully with a minimally invasive neuroradiological procedure, performed in a New York hospital on March 29,[107] but two days afterwards he passed out on a New York street from bleeding from the femoral artery, which radiologists had used to access the aneurysm.[108] The complication forced Young to cancel his scheduled appearance at the Juno Awards telecast in Winnipeg, but within months he was back on stage, appearing at the close of the Live 8 concert in Barrie, Ontario, on July 2. During the performance, he debuted a new song, a soft hymn called `When God Made Me`. Young`s brush with death influenced Prairie Wind`s themes of retrospection and mortality.[109] 2010s[edit] In May 2010, it was revealed Young had begun working on a new studio album produced by Daniel Lanois. This was announced by David Crosby, who said that the album `will be a very heartfelt record. I expect it will be a very special record.`[110] On May 18, 2010, Young embarked upon a North American solo tour to promote his then upcoming album, Le Noise, playing a mix of older songs and new material. Although billed as a solo acoustic tour, Young also played some songs on electric guitars, including Old Black.[111] In September 2011, Jonathan Demme`s third documentary film on the singer songwriter, Neil Young Journeys, premiered at the Toronto International Film Festival.[112] Neil Young with Crazy Horse released the album Americana on June 5, 2012. It was Young`s first collaboration with Crazy Horse since the Greendale album and tour in 2003 and 2004. The record is a tribute to unofficial national anthems that jumps from an uncensored version of `This Land Is Your Land` to `Clementine` and includes a version of `God Save the Queen`, which Young grew up singing every day in school in Canada.[113] Americana is Neil Young`s first album composed entirely of cover songs. The album debuted at number four on the Billboard 200, making it Young`s highest-charting album in the US since Harvest.[114] On June 5, 2012, American Songwriter also reported that Neil Young and Crazy Horse would be launching their first tour in eight years in support of the album.[115] On September 25, 2012, Young`s autobiography Waging Heavy Peace: A Hippie Dream was released to critical and commercial acclaim.[116] Reviewing the book for the New York Times, Janet Maslin reported that Young chose to write his memoirs in 2012 for two reasons: he needed to take a break from stage performances for health reasons but continue to generate income; and he feared the onset of dementia, considering his father`s medical history and his own present condition. Maslin praised the book, describing it as frank but quirky and without pathos.[117] In November 2013, Young performed at the annual fundraiser for the Silverlake Conservatory of Music. Following the Red Hot Chili Peppers, he played an acoustic set to a crowd who had paid a minimum of $2,000 a seat to attend the benefit in the famous Paramour Mansion overlooking downtown Los Angeles.[118] Young released the album A Letter Home on April 19, 2014, through Jack White`s record label, and his second memoir, entitled Special Deluxe, which was released on October 14.[119] He appeared with White on The Tonight Show Starring Jimmy Fallon on May 12, 2014.[120] Young released his thirty-fifth studio album, Storytone on November 4, 2014. The first song released from the album, `Who`s Gonna Stand Up?`, was released in three different versions on September 25, 2014.[121] Storytone was followed in 2015 by his concept album The Monsanto Years.[122] The Monsanto Years is an album themed both in support of sustainable farming, and to protest the biotechnology company Monsanto.[123] Young achieves this protest in a series of lyrical sentiments against genetically modified food production. He created this album in collaboration with Willie Nelson`s sons, Lukas and Micah, and is also backed by Lukas`s fellow band members from Promise of the Real.[124] Additionally, Young released a film in tandem to the album, (also entitled The Monsanto Years), that documents the album`s recording, and can be streamed online.[125] In August 2019, The Guardian reported Young, among other environmental activists, was being spied on by the firm.[126] In summer 2015, Young undertook a North America tour titled the Rebel Content Tour. The tour began on July 5, 2015, at the Summerfest in Milwaukee, Wisconsin and ended on July 24, 2015, at the Wayhome Festival in Oro-Medonte, Ontario. Lukas Nelson & Promise of the Real were special guests for the tour.[127][128] In October 2016, Young performed at Desert Trip in Indio, California,[129][130] and announced his thirty-seventh studio album, Peace Trail, recorded with drummer Jim Keltner and bass guitarist Paul Bushnell,[131] which was released that December. On September 8, 2017, Young released Hitchhiker, a studio LP recorded on August 11, 1976, at Indigo Studios in Malibu. The album features ten songs that Young recorded accompanied by acoustic guitar or piano.[132] While different versions of most of the songs have been previously released, the new album will include two never-before-released songs: `Hawaii` and `Give Me Strength`, which Young has occasionally performed live.[133] On July 4, 2017, Young released the song `Children of Destiny` which would appear on his next album. On November 3, 2017, Young released `Already Great`, a song from The Visitor, an album he recorded with Promise of the Real and released on December 1, 2017.[134] On Record Store Day, April 21, 2018, Warner Records released a two-vinyl LP special edition of Roxy: Tonight`s the Night Live, a double live album of a show that Young performed in September 1973 at the Roxy in West Hollywood, with the Santa Monica Flyers. The album is labeled as `Volume 05` in Young`s Performance Series.[135] On October 19, 2018, Young released a live version of his song `Campaigner`, an excerpt from a forthcoming archival live album titled Songs for Judy, which features solo performances recorded during a November 1976 tour with Crazy Horse. It will be the first release from his new label Shakey Pictures Records.[136][137][138] In December 2018, Young criticized the promoters of a London show for selecting Barclays Bank as a sponsor. Young objected to the bank`s association with fossil fuels. Young explained that he was trying to rectify the situation by finding a different sponsor.[139] On August 19, 2019, Neil Young and Crazy Horse announced the forthcoming release later in August 2019 of the new song `Rainbow of Colors`, the first single from the album Colorado, Young`s first new record with the band in seven years, since 2012`s Psychedelic Pill. Young, multi-instrumentalist Nils Lofgren, bassist Billy Talbot and drummer Ralph Molina recorded the new album with Young`s co-producer, John Hanlon, in spring 2019. Colorado was released on October 25, 2019[140][141] on Reprise Records. On August 30, 2019, Young unveiled `Milky Way`, the first song from Colorado, a love ballad he had performed several times at concerts – both solo acoustic and with Promise of the Real.[142] 2020s[edit] In February 2020, Young wrote an open letter to President Trump, calling him a `disgrace to my country`.[143][144] On August 4, 2020, Young filed a copyright infringement lawsuit against Trump`s reelection campaign for the use of his music at campaign rallies.[145] In April 2020, Young announced that he was working on a new archival album, Road of Plenty, comprising music made with Crazy Horse in 1986 and rehearsals for his 1989 Saturday Night Live appearance.[146] On June 19, Young released a `lost` album, Homegrown. He recorded it in the mid-1970s following his breakup with Carrie Snodgress, but opted not to release it at the time, feeling it was too personal.[147] In September, Young released a live EP, The Times. Young shared the news via his video for his new song `Lookin` for a Leader`, stating: `I invite the President to play this song at his next rally. A song about the feelings many of us have about America today.`[148] In January 2021, Young sold 50% of the rights to his back catalog to the British investment company Hipgnosis Songs Fund. The value was estimated to be at least $150 million.[149][150] Young and Crazy Horse released a new album, Barn, on December 10, 2021. The first single, `Song of the Seasons`, was released on October 15, followed by `Welcome Back` on December 3, along with a music video. A stand-alone will be released on Blu-ray and will be directed by Daryl Hannah.[151] Young also confirmed that he had completed his third book, Canary, his first work of fiction.[152] On January 24, 2022, Young posted an open letter threatening to remove his music from the audio streaming service Spotify if it did not remove The Joe Rogan Experience podcast. Young accused the podcast of spreading COVID-19 misinformation on December 31, writing that `Spotify has a responsibility to mitigate the spread of misinformation on its platform`.[153] On January 26, Young`s music was removed from Spotify. A Spotify spokesperson said that Spotify wanted `all the world`s music and audio content to be available to Spotify users` and that it had a `great responsibility in balancing both safety for listeners and freedom for creators`.[153] In solidarity, artists including Joni Mitchell and the members of Crosby, Stills, and Nash also removed their music from Spotify.[154][155][156] The Director-General of the World Health Organization, Tedros Adhanom Ghebreyesus, also praised Young.[155] In 2023, Young criticized Ticketmaster`s practice of raising ticket prices and adding fees. He said he had been sent letters from fans blaming him for US$3,000 tickets for a benefit concert he was performing, and that `artists have to worry about ripped off fans blaming them for Ticketmaster add-ons and scalpers`.[157] In March 2024, Young returned his music to Spotify, as the end of Rogan`s contract meant Rogan could add The Joe Rogan Experience to other streaming platforms, such as Apple Music and Amazon Music. Young said he could not sustain his opposition across each of the platforms.[158] Archives project[edit] Main article: Neil Young Archives Since 2006, Young has been maintaining the Neil Young Archives, a project which encompasses the release of live albums, starting in 2006 with Live at the Fillmore East, box sets of live and studio material, starting in 2009 with The Archives Vol. 1 1963–1972, as well as video releases. As of 2019, the project has evolved into a subscription website and application where all of his music is available to stream in high resolution audio. Neil Young Archives also includes his newspaper, The Times-Contrarian, The Hearse Theater, and photographs and memorabilia from throughout his career.[159] Activism, philanthropy and humanitarian efforts[edit] Young`s renewed activism manifested itself in the 2006 album Living with War, which like the much earlier song `Ohio`, was recorded and released in less than a month as a direct result of current events.[160] Most of the album`s songs rebuked the Bush administration`s policy of war by examining its human costs to soldiers, their loved ones, and civilians, but Young also included a few songs on other themes and an outright protest song entitled `Let`s Impeach the President`,[161] in which he asserted that Bush had lied to lead the country into war. While Young had never been a stranger to eco-friendly lyrics, themes of environmentalist spirituality and activism became increasingly prominent in his work throughout the 1990s and 2000s, especially on Greendale (2003)[162] and Living with War (2006).[163] The trend continued on 2007`s Chrome Dreams II, with lyrics exploring Young`s personal eco-spirituality.[164] Young remains on the board of directors of Farm Aid, an organization he co-founded with Willie Nelson and John Mellencamp in 1985. According to its website, it is the longest running concert benefit series in the US and it has raised $43 million since its first benefit concert in 1985. Each year, Young co-hosts and performs with well-known guest performers who include Dave Matthews and producers who include Evelyn Shriver and Mark Rothbaum, at the Farm Aid annual benefit concerts to raise funds and provide grants to family farms and prevent foreclosures, provide a crisis hotline, and create and promote home grown farm food in the United States.[165] Young performing in Oslo, Norway, in 2009 In 2008, Young revealed his latest project, the production of a hybrid-engine 1959 Lincoln called LincVolt.[166] A new album loosely based on the Lincvolt project, Fork in the Road, was released on April 7, 2009.[167] A Jonathan Demme concert film from a 2007 concert at the Tower Theater in Upper Darby Township, Pennsylvania, called the Neil Young Trunk Show premiered on March 21, 2009, at the South by Southwest (SXSW) Film Conference and Festival in Austin, Texas. It was featured at the Cannes Film Festival on May 17, 2009, and was released in the US on March 19, 2010,[168] to critical acclaim.[169][170][171] In 2009, Young headlined the New Orleans Jazz and Heritage Festival, and Glastonbury Festival in Pilton, England,[172] at Hard Rock Calling in London (where he was joined onstage by Paul McCartney for a rendition of `A Day in the Life`) and, after years of unsuccessful booking attempts, the Isle of Wight Festival.[173] Young has been a vocal opponent of the proposed Keystone XL oil pipeline, which would run from Alberta to Texas. When discussing the environmental impact on the oilsands of Fort McMurray, Alberta, Young asserted that the area now resembles the Japanese city of Hiroshima in the aftermath of the atomic bomb attack of World War II.[174] Young has referred to issues surrounding the proposed use of oil pipelines as `scabs on our lives`.[174] In an effort to become more involved, Young has worked directly with the Athabasca Chipewyan First Nation to draw attention to this issue, performing benefit concerts and speaking publicly on the subject. In 2014, he played four shows in Canada dedicated to the Honor the Treaties[175] movement, raising money for the Athabasca Chipewyan legal defense fund.[176] In 2015, he and Willie Nelson held a festival in Neligh, Nebraska, called Harvest the Hope, raising awareness of the impact of oilsands and oil pipelines on Native Americans and family farmers. Both received honors from leaders of the Rosebud Sioux, Oglala Lakota, Ponca and Omaha nations, and were invested with sacred buffalo robes.[177] Young participated in the Blue Dot Tour, which was organized and fronted by environmental activist David Suzuki, and toured all 10 Canadian provinces alongside other Canadian artists including the Barenaked Ladies, Feist, and Robert Bateman. The intent of Young`s participation in this tour was to raise awareness of the environmental damage caused by the exploitation of oilsands. Young has argued that the amount of CO2 released as a byproduct of oilsand oil extraction is equivalent to the amount released by the total number of cars in Canada each day.[178] Young has faced criticism by representatives from within the Canadian petroleum industry, who have argued that his statements are irresponsible.[174] Young`s opposition to the construction of oil pipelines has influenced his music as well. His song, `Who`s Going to Stand Up?` was written to protest this issue, and features the lyric `Ban fossil fuel and draw the line / Before we build one more pipeline`.[174] In addition to directly criticizing members of the oil industry, Young has also focused blame on the actions of the Canadian government for ignoring the environmental impacts of climate change. He referred to Canadian Prime Minister Stephen Harper as `an embarrassment to many Canadians ... [and] a very poor imitation of the George Bush administration in the United States`.[178] Young was also critical of Barack Obama`s government for failing to uphold the promises made regarding environmental policies during his election campaign.[178] Young recorded `A Rock Star Bucks a Coffee Shop` in response to Starbucks` possible involvement with Monsanto and use of genetically modified food.[179][180] The song was included on his 2015 concept album The Monsanto Years.[181] Personal life[edit] Homes and residency[edit] Young`s family was from Manitoba, where both his parents were born and married. Young himself was born in Toronto, Ontario, and lived there at various times in his early life (1945, 1957, 1959–1960, 1966–1967), as well as Omemee (1945–1952) and Pickering, Ontario (1956) before settling with his mother in Winnipeg, Manitoba (1958, 1960–1966), where his music career began and which he considers his `hometown`.[182] After becoming successful, he bought properties in California. Young had a home in Malibu, California, which burned to the ground in the 2018 Woolsey Fire.[183] Young had lived outside Canada from 1967, before returning in 2020. Young owned Broken Arrow Ranch, a property of about 1,000 acres[184] near La Honda, California, which he purchased in 1970 for US$350,000 (US$2.7 million in 2023 dollars);[72] the property was subsequently expanded to thousands of acres.[185][186] He moved out and gave Pegi Young the ranch after their divorce in 2014. Young`s son Ben lives there.[61] Young announced in 2019 that his application for United States citizenship had been held up because of his use of marijuana. In 2020, the issue was resolved and he became a United States citizen.[187][188][189][190] Almost immediately upon gaining US citizenship, Young returned to living in Canada for the first time in over half-a-century, as he and Daryl Hannah moved to a cottage near Omemee, the town where he had originally lived from shortly after his birth until the age of 7.[191][192] Relationships and family[edit] Young married his first wife, restaurant owner Susan Acevedo, in December 1968. They were together until October 1970, when she filed for divorce.[193] From late 1970 to 1975, Young was in a relationship with actress Carrie Snodgress. The song `A Man Needs a Maid` from Harvest is inspired by his seeing her in the film Diary of a Mad Housewife. They met soon afterward and she moved in with him on his ranch in northern California. They have a son, Zeke, who was born September 8, 1972. He has been diagnosed with cerebral palsy.[194][195] Young met future wife Pegi Young (née Morton) in 1974 when she was working as a waitress at a diner near his ranch, a story he tells in the 1992 song `Unknown Legend`. They married in August 1978[196] and had two children together, Ben and Amber. Ben has been diagnosed with cerebral palsy,[195] and Amber has been diagnosed with epilepsy.[195] The couple were musical collaborators and co-founded the Bridge School in 1986.[197][198] On July 29, 2014, Young filed for divorce after 36 years of marriage.[61] Pegi died on January 1, 2019.[199] Young has been in a relationship with actress and director Daryl Hannah since 2014.[200] Young and Hannah were reported to have wed on August 25, 2018, in Atascadero, California.[201] Young confirmed his marriage to Hannah in a video released on October 31, 2018.[202] Young has been widely reported to be the godfather of actress Amber Tamblyn;[203] in a 2009 interview with Parade, Tamblyn explained that `godfather` was `just a loose term` for Young, Dennis Hopper, and Dean Stockwell, three famous friends of her father, Russ Tamblyn, who were important influences on her life.[204] Charity work[edit] Young is an environmentalist[205] and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. He worked on LincVolt, the conversion of his 1959 Lincoln Continental to hybrid electric technology, as an environmentalist statement.[206][207] In 1986, Young helped found the Bridge School,[208] an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his then wife Pegi Young.[209] Young is a member of the Canadian charity Artists Against Racism.[210] Business ventures[edit] Young was part owner of Lionel, LLC, a company that makes toy trains and model railroad accessories.[211] In 2008 Lionel emerged from bankruptcy and his shares of the company were wiped out. He was instrumental in the design of the Lionel Legacy control system for model trains,[211] and remains on the board of directors of Lionel.[212] He has been named as co-inventor on seven US patents related to model trains.[213] Young has long held that the digital audio formats in which most people download music are deeply flawed, and do not provide the rich, warm sound of analog recordings. He claims to be acutely aware of the difference, and compares it with taking a shower in tiny ice cubes versus ordinary water.[214] Young and his company PonoMusic developed Pono, a music download service and dedicated music player focusing on `high-quality` uncompressed digital audio.[215] It was designed to compete against highly compressed MP3 type formats. Pono promised to present songs `as they first sound during studio recording`.[216][217][218] The service and the sale of the player were launched in October 2014.[219][220] Instruments[edit] Guitars[edit] Young playing a Gretsch White Falcon in Cologne, June 19, 2009 In 2003, Rolling Stone listed Young as eighty-third in its ranking of `The 100 Greatest Guitarists of All Time` (although in a more recent version of the list, he has been moved up to seventeenth place), describing him as a `restless experimenter ... who transform[s] the most obvious music into something revelatory`.[221] Young is a collector of second-hand guitars, but in recording and performing, he uses frequently just a few instruments, as is explained by his longtime guitar technician Larry Cragg in the film Neil Young: Heart of Gold. They include: a late 1950s Gretsch White Falcon purchased by Young near the end of the Buffalo Springfield era. In 1969, he bought a version of the same vintage guitar from Stephen Stills, and this instrument is featured prominently during Young`s early 1970s period, and can be heard on tracks like `Ohio`, `Southern Man`, `Alabama`, `Words (Between the Lines of Age)`, and `L.A.`. It was Young`s primary electric guitar during the Harvest (1972) era, since Young`s deteriorating back condition (eventually fixed with surgery) made playing the much heavier Les Paul (a favourite of his named Old Black) difficult.[222] Reed organ[edit] Young owns a restored Estey reed organ, serial number 167272, dating from 1885, which he frequently plays in concert.[223] Crystallophone[edit] Young owns a glass harmonica, which he played in the recording of `I Do` on his 2019 album Colorado.[224] Amplification[edit] Young uses various vintage Fender Tweed Deluxe amplifiers. His preferred amplifier for electric guitar is the Fender Deluxe, specifically a Tweed-era model from 1959. He purchased his first vintage Deluxe in 1967 for US$50 (US$460 in 2023 dollars[72]) from Sol Betnun Music on Larchmont in Hollywood and has since acquired nearly 450 different examples, all from the same era, but he maintains that it is the original model that sounds superior and is crucial to his trademark sound.[225] A notable and unique accessory to Young`s Deluxe is the Whizzer, a device created specifically for Young by Rick Davis, which physically changes the amplifier`s settings to pre-set combinations. This device is connected to footswitches operable by Young onstage in the manner of an effects pedal. Tom Wheeler`s book The Soul of Tone highlights the device on page 182/183.[226] Discography[edit] Main article: Neil Young discography and filmography See also: Crazy Horse (band) § Discography; Buffalo Springfield § Discography; and Crosby, Stills, Nash & Young discography Neil Young (1968) Everybody Knows This Is Nowhere (1969) (with Crazy Horse) After the Gold Rush (1970) Harvest (1972) Time Fades Away (1973) On the Beach (1974) Tonight`s the Night (1975) Zuma (1975) (with Crazy Horse) Long May You Run (1976) (credited to The Stills–Young Band) American Stars `n Bars (1977) Comes a Time (1978) Rust Never Sleeps (1979) Hawks & Doves (1980) Re