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Florence Cathedral
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Florence Cathedral
Cathedral of Saint Mary of the Flower
Il Duomo di Firenze
Cattedrale di Santa Maria del Fiore (Italian)
Cathedral Sanctae Mariae Floris (Latin)
Brunelleschi's Dome, the nave, and Giotto's Campanile of the Florence Cathedral as seen from Michelangelo Hill at night and day.
Florence Cathedral
Location in Florence, Italy
43°46′23.1″N 11°15′22.4″E / 43.773083°N 11.256222°E / 43.773083; 11.256222Coordinates: 43°46′23.1″N 11°15′22.4″E / 43.773083°N 11.256222°E / 43.773083; 11.256222
Location
Florence, Tuscany
Country
Italy
Denomination
Roman Catholic
Tradition
Latin Rite
Website
Duomo Firenze
History
Consecrated
1436
Architecture
Status
Cathedral, minor basilica
Architect(s)
Arnolfo di Cambio
Filippo Brunelleschi
Emilio De Fabris
Architectural type
Church
Style
Italian Gothic, Renaissance,
Gothic Revival
Groundbreaking
9 September 1296
Completed
1436
Specifications
Length
153 metres (502 ft)
Width
90 metres (300 ft)
Nave width
38 metres (125 ft)
Height
114.5 metres (376 ft)
Floor area
8,300 square metres (89,000 sq ft)
Materials
Marble, brick
Administration
Archdiocese
Archdiocese of Florence
Clergy
Archbishop
Giuseppe Betori
UNESCO World Heritage Site
Official name
Historic Centre of Florence
Type
Cultural
Criteria
i, ii, iii, iv, vi
Designated
1982 (6th session)
Reference no.
174
State Party
Italy
Region
Europe and North America
The Cattedrale di Santa Maria del Fiore (Italian pronunciation: [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]; in English "Cathedral of Saint Mary of the Flower") is the main church of Florence, Italy. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.[1] The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
Contents
[hide]
1 History
2 Exterior
2.1 Plan and structure
2.2 Dome
2.3 Façade
3 Main Portal
4 Interior
5 Crypt
6 Other burials
7 See also
8 Notes
9 References
10 Further reading
11 External links
History[edit]
Florence Cathedral
Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[2] The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani,[3] and was no longer large enough to serve the growing population of the city.[3] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.
Giotto's bell tower (campanile)
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
The Duomo, as if completed, in a fresco by Andrea di Bonaiuto, painted in the 1360s, before the commencement of the dome
After Arnolfo died in 1310, work on the cathedral slowed for thirty years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died the January 8th of 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.
In 1349, work resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418, only the dome remained incomplete.
Procession outside the cathedral during the 18th century
On 18 August 1418, the Arte della Lana announced an architectural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.[4]
Ghiberti, appointed coadjutator, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.[5]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436, (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of the Renaissance. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The Duomo and Baptistery of St. John from Piazza del Duomo
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed with the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two side doors: the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death), in the Pazzi conspiracy.
Exterior[edit]
Plan and structure[edit]
Plan of the church with various extension phases
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: building area 8,300 square metres (89,340 square feet), length 153 metres (502 feet), width 38 metres (125 feet), width at the crossing 90 metres (300 feet). The height of the arches in the aisles is 23 metres (75 feet). The height of the dome is 114.5 metres (375.7 feet).[6]
Dome[edit]
By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15.1 ft) high, 9.2 metres (30.2 feet) long, was standing in a side aisle of the unfinished building, and had long been sacrosanct.[7] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
External video
Smarthistory - Brunelleschi's Dome[8]
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravanti's model was chosen over a competing one by Giovanni di Lapo Ghini.[9] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north.[10] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
Dome seen from the Giotto's Campanile
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. Soil filled with silver coins had held the Pantheon dome aloft while its concrete set. This could not be the solution in the case of a dome this size and would put the church out of use. For the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 meters (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[11] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of brick, due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Interior of the dome
Brunelleschi's solutions were ingenious, such as his use of the catenary arch for support.[12] The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.[8]
The Duomo viewed from the heights of Piazzale Michelangelo
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The Ribs, 13 feet (4 meters) deep, are supported by 16 concealed ribs radiating from center.[13] The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.[14]
A circular masonry dome can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[15][16][17][18]
Baptistery of St. John next to the cathedral
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome and has no embedded chains.[19]
A modern understanding of physical laws and the mathematical tools for calculating stresses were centuries in the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition, even though there had been evidence that Brunelleschi had been working on a design for a lantern for the upper part of the dome. The evidence is shown in the curvature, which was made steeper than the original model.[20] He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 meters (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
Cupola of the Dome
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[21]
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[22]
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[23]
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the 19th century.
Façade[edit]
Façade
Façade of the cathedral
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th-century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was completed in only its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years, but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
Main portal by Augusto Passaglia
Statue of Saint Reparata, to whom the previous cathedral was dedicated, in the main portal
In 1864, a competition held to design a new façade was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and was completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Main Portal[edit]
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions; Christ enthroned with Mary and John the Baptist; and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right-hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
Interior[edit]
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Interior of the cathedral
Huge clock decorated by Paolo Uccello.
Dante and the Divine Comedy.
Trompe l'oeil of Niccolò da Tolentino.
Vasari's fresco begun in 1568, and completed by Federico Zuccari in 1579.
Detail under the dome.
The Last Judgement (detail) under the dome.
Tomb of Antonio d'Orso by Tino da Camaino.
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
• Lorenzo Ghiberti had a large artistic impact on the cathedral. Ghiberti worked with Filippo Brunelleschi on the cathedral for eighteen years and had a large number of projects on almost the whole east end. Some of his works were the stained glass designs, the bronze shrine of Saint Zenobius and marble revetments on the outside of the cathedral.
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred to canvas in the 19th century, is painted in terra verde, a color closest to the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th century, in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano - 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th centuries.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used until the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one of his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th-century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cupola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work, which ended in 1995, the entire pictorial cycle of The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.[24][25]
Crypt[edit]
Tomb of Filippo Brunelleschi.
The cathedral underwent difficult excavations between 1965 and 1974. The archaeological history of this huge area was reconstructed through the work of Dr. Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.[citation needed]
Other burials[edit]
Zenobius of Florence
Conrad II of Italy
Giovanni Benelli
Filippo Brunelleschi
Giotto di Bondone
Pope Nicholas II
Pope Stephen IX
John Hawkwood
See also[edit]
Italy portal
Catholicism portal
Roman Catholic Marian churches
List of largest domes in the world
Santa Reparata, Florence
Inferno (Dan Brown novel)
History of Medieval Arabic and Western European domes
Notes[edit]
Jump up ^ Ermengem, Kristiaan Van. "Duomo di Firenze, Florence". A View On Cities. Retrieved 2016-02-05.
Jump up ^ Bartlett, pp. 36–37; according to Bartlett, the people of Florence continued to call the cathedral by its former name for some time after reconstruction.
^ Jump up to: a b Barlett, 36.
Jump up ^ Zucconi, Guido (1995). Florence: An Architectural Guide. San Giovanni Lupatoto, Vr, Italy: Arsenale Editrice srl. ISBN 88-7743-147-4.
Jump up ^ King, pp. 76–79.
Jump up ^ "Santa Maria Del Fiore Church (Dome) Firenze Italy". En.firenze-online.com. Retrieved 2013-03-26.
Jump up ^ King, p. 10
^ Jump up to: a b "Brunelleschi's Dome". Smarthistory at Khan Academy. Retrieved December 19, 2012.
Jump up ^ King, p. 9.
Jump up ^ King, p. 7.
Jump up ^ PBS' The Medici: Godfathers of the Renaissance, Birth of a Dynasty (see https://www.youtube.com/watch?v=9FFDJK8jmms at the 20:15 mark)
Jump up ^ The Secrets of the Florentine Dome: The Secrets of the Florentine Dome, accessdate: January 25, 2017
Jump up ^ Stevenson, Niel (2007) Architecture Explained. ISBN 0756628687. pp. 36–37.
Jump up ^ King, pp. 70–73.
Jump up ^ King, p. 97.
Jump up ^ Mueller, Tom (February 10, 2014). "Mystery of Florence's Cathedral Dome May Be Solved". National Geographic Society. Retrieved 31 December 2014.
Jump up ^ NationalGeographic.com 2014-02 Il Duomo Tom Mueller
Jump up ^ NationalGeographic.com 2014-02 Il Doumo Design Video
Jump up ^ King, pp. 105-107.
Jump up ^ Gartner, Peter, Filippo Brunelleschi 1377-1446, p 95.
Jump up ^ King, p. 69.
Jump up ^ Paolo Galluzzi, "Leonard de Vinci, engineer and architect", p. 50
Jump up ^ Figures vary. archINFORM gives a 45 m wide tambour, while Santa Maria del Fiore at Structurae gives a 43 m diameter of the cupola, others as little as 42 m.
Jump up ^ As referenced in "Cupola di Santa Maria del Fiore: il cantiere di restauro 1980-1995", a cura di Cristina Acidini Luchinat e Riccardo Dalla Negra published by Istituto Poligrafico e Zecca dello Stato (Roma) in 1995 (ISBN 8824039561)
Jump up ^ Thesaurus Florentinus project page (in Italian), Soprintendenza ai Beni Architettonici e Paesaggisitici di Firenze, Ministero dei Beni Culturali
References[edit]
Bartlett, Kenneth R. (1992). The Civilization of the Italian Renaissance. Toronto: D.C. Heath and Company. ISBN 0-669-20900-7 (Paperback).
King, Ross (2000). Brunelleschi’s Dome: How a Renaissance Genius Reinvented Architecture. London: Chatto & Windus.
Jepson, Tim (2001). The National Geographic Traveler, Florence & Tuscany. National Geographic Society. ISBN 90-215-9720-9.
Henry A. Millon (ed.) (1994). Italian Renaissance Architecture: from Brunelleschi to Michelangelo. London: Thames and Hudson. ISBN 0-500-27921-7. CS1 maint: Extra text: authors list (link)
Montrésor, Carlo (2000). The Opera del Duomo, Museum in Florence. Mandragora.
Suro, Roberto (July 28, 1987). "Cracks in a Great Dome in Florence May Point to Impending Disaster". New York Times: C3. Retrieved 2010-02-26.
Tacconi, Marica S. Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria del Fiore. Cambridge: Cambridge University Press, 2005. ISBN 978-0-521-81704-2
Wirtz, Rolf C. Kunst & Architektur, Florenz. Könemann, 2005. ISBN 3-8331-1576-9.
Cupola di Santa Maria del Fiore: il cantiere di restauro 1980-1995, a cura di Cristina Acidini Luchinat e Riccardo Dalla Negra. Istituto poligrafico e Zecca dello Stato (Roma). 1995. ISBN 88-240-3956-1. Library of Congress permalink
Devémy, Jean-François (2013). Sur les traces de Filippo Brunelleschi, l'invention de la coupole de Santa Maria del Fiore à Florence. Suresnes: Les Editions du Net. ISBN 978-2-312-01329-9. (in line presentation)
Gärtner, Peter J. (1998). Filippo Brunelleschi 1377-1446. Köln : Könemann. ISBN 3-8290-0241-6.
Further reading[edit]
"The Great Cathedral Mystery", PBS Nova TV documentary, February 12, 2014
Hunt, Don, "Secrets of the Duomo", Journal, Issue 2, 2014, International Union of Bricklayers and Allied Craftworkers
Mueller, Tom, "Brunelleschi’s Dome: How did a hot-tempered goldsmith with no formal architectural training create the most miraculous edifice of the Renaissance?", National Geographic magazine, February 2014
Ricci, Massimo, Il genio di Brunelleschi e la costruzione della Cupola di Santa Maria del Fiore, Livorno : Casa Editrice Sillabe S.r.l., April 2014. (The genius of Filippo Brunelleschi and the construction of the dome of Santa Maria del Fiore). ISBN 978-88-8347-691-4. The book is the result of forty years of research on the secret technique with which Brunelleschi built the Dome of Santa Maria del Fiore in Florence. Ricci makes the case for the dome being an inverted arch and uses a herringbone pattern (spina a pesce) for the dome's bricks.
Vereycken, Karel, "The Secrets of the Florentine Dome", Schiller Institute, 2013. (Translation from the French, "Les secrets du dôme de Florence", la revue Fusion, n° 96, Mai, Juin 2003)
External links[edit]
Wikimedia Commons has media related to Santa Maria del Fiore (Florence).
Official website
L'Opera del Duomo, Firenze
Brunelleschi's Dome - en
"The Cathedral". The Florence Art Guide. 2004. Retrieved July 14, 2006.
Museums in Florence - Cathedral and Giotto Belltower
Horner, Susan; Horner, Joanna (December 27, 2005). "Chapter III: The Cathedral - Exterior". Walks in Florence. Retrieved July 14, 2006.
NGM.NationalGeographic.com 2014- 02 Il Duomo 360 Panorama View Interactive
NGM.NationalGeographic.com 2014-02 Il Duomo Cutaway Interactive
ngm.nationalgeographic.com 2014-02 ll Duomo Piazza 360 degree panorama interactive
ngm.nationalgeographic.com 2014-02 Il Duomo Compared to other Domes Interactive
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text:
(You Gotta) Fight for Your Right (To Party!)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"(You Gotta) Fight for Your Right (To Party!)"
Single by Beastie Boys
from the album Licensed to Ill
B-side
"Paul Revere"
Released
1986 (US, UK, Canada, Mexico, Australia, Philippines New Zealand, Argentina)
1987 (Europe, Japan)[1]
Format
7", 12"
Genre
Rap rock[2][3]
hard rock[4][5]
Length
3:29
Label
Def Jam
Columbia
Songwriter(s)
Beastie Boys
Rick Rubin
Tom Cushman
Producer(s)
Rick Rubin
Beastie Boys singles chronology
"Brass Monkey"
(1987) "(You Gotta) Fight for Your Right (To Party!)"
(1986) "No Sleep till Brooklyn"
(1987)
"Brass Monkey"
(1987) "(You Gotta) Fight for Your Right (To Party!)"
(1987) "No Sleep till Brooklyn"
(1987)
Audio sample
file
help
"(You Gotta) Fight for Your Right (to Party!)" (sometimes shortened to "Fight for Your Right") is a song by American group the Beastie Boys, released as the fourth single released from their debut album Licensed to Ill (1986). One of their best-known songs, it reached no. 7 on the Billboard Hot 100 in the week of March 7, 1987, and was later named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The song was also included on their compilation albums The Sounds of Science in 1999 and Solid Gold Hits in 2005.
Contents
[hide]
1 History
2 Music video
3 Fight for Your Right Revisited
4 Remake versions
5 Accolades
6 Chart performance
6.1 Weekly charts
6.2 Year-end charts
7 Cover versions
8 References
9 External links
History[edit]
The song, written by Adam Yauch and band friend Tom "Tommy Triphammer" Cushman (who appears in the video), was intended as an ironic parody of "party" and "attitude"-themed songs, such as "Smokin' in the Boys Room" and "I Wanna Rock".[6] However, the irony was lost on most listeners. Mike D commented that, "The only thing that upsets me is that we might have reinforced certain values of some people in our audience when our own values were actually totally different. There were tons of guys singing along to "Fight for Your Right" who were oblivious to the fact it was a total goof on them."
Music video[edit]
The music video for "Fight For Your Right" begins as a mother and father tell their two sons to stay out of trouble while they're away. When they leave, the two boys decide to have a party, hoping "no bad people show up"; this prompts the arrival of Ad-Rock, Mike D, and MCA at the party. The trio start all kinds of trouble within the house, such as chasing and kissing girls, starting fires, bringing more troublesome people into the house, spiking the punch, smashing things, and starting a massive pie fight. As the pie fight reaches its peak, Ad-Rock, Mike D, and MCA run away, the party having become too out of hand even for them. As the video ends, the remaining partygoers shout along to the final chorus of "party!" before hitting the returning mother in the face with a pie.
Directed by Ric Menello and Adam Dubin,[7] there are numerous cameos in this video, including an unknown at the time Tabitha Soren, Def Jam label mate LL Cool J, members of the punk rock band Murphy's Law, as well as the Beastie Boys' producer, Rick Rubin, who was shown wearing an AC/DC & Slayer shirt, the latter of whom were also signed to Def Jam at the time.
Soren, whose hair was dyed blonde for the shoot, got her chance to be in the video because she was a friend of Rubin's and attended nearby New York University. "I worked hard at not getting any pie goo on me," she recalls, because the whipped cream used had been scoured from supermarket trash cans since there was no money in the budget for it. As a result, it was rancid and had a foul odor. "The smell in that room, when everyone was done throwing pies, was like rotten eggs. You wanted to throw up."[8]
Fight for Your Right Revisited[edit]
In 2011, Adam Yauch directed and wrote a surreal comedic short film entitled Fight for Your Right Revisited to commemorate the 25th anniversary of the original video's release. The short film serves as a video for the single "Make Some Noise" from Hot Sauce Committee Part Two. Most of the non-sequitur dialogue between characters were a result of improvisation by the cast.
Revisited acts as a sequel to the events that took place in the original music video and features Mike D, Ad-Rock and MCA (played by Seth Rogen, Elijah Wood, and Danny McBride, respectively) as they get into more drunken antics, before being challenged to a dance battle by the future Mike D, Ad-Rock and MCA (John C. Reilly, Will Ferrell, and Jack Black, respectively), coming out of a DeLorean.
The short also features a wide number of cameo appearances, including Stanley Tucci, Susan Sarandon, Steve Buscemi, Alicia Silverstone, Laura Dern, Shannyn Sossamon, Kirsten Dunst, Ted Danson, Rashida Jones, Jason Schwartzman, Rainn Wilson, Amy Poehler, Mary Steenburgen, Will Arnett, Adam Scott, Chloë Sevigny, Maya Rudolph, David Cross, Orlando Bloom, Martin Starr, and the actual Mike D, Ad-Rock, and MCA. Many of the listed people only appear for a few seconds.
Although the song itself is not performed, it can be heard at the beginning of the short.
Remake versions[edit]
Singer/songwriter Cara Quici sampled the song and added new lyrics for her 2013 song "Fight"[9] personally approved by Rick Rubin and licensed by Sony ATV and Universal Music Group. The "Fight" video by Cara Quici features a cameo by Dennis Rodman.[10]
Accolades[edit]
Year
Publisher
Country
Accolade
Rank
1986 The Village Voice United States "Singles of the Year" (25)[11] 12
1987 NME United Kingdom "Singles of the Year" (60)[12] 14
1987 Record Mirror United Kingdom "Singles of the Year" (20)[13] 20
1994 Dave Marsh & James Bernard United States "Greatest Eighties Protest Songs"[14] *
1995 Rock and Roll Hall of Fame United States "500 Songs that Shaped Rock and Roll"[15] *
1998 Triple J Hottest 100 Australia "Hottest 100 of All Time"[16] 38
1999 MTV United States "100 Greatest Music Videos Ever Made"[17] 66
2001 Uncut United Kingdom "The 100 Greatest Singles Of The Post-Punk Era"[18] 50
2001 VH1 United States "100 Greatest Videos"[19] 100
2003 PopMatters United States "The 100 Best Songs Since Johnny Rotten Roared"[20] 99
2003 Q United Kingdom "The 1001 Best Songs Ever"[21] 121
2003 VH1 United States "100 Greatest Songs of the Past 25 Years"[22] 96
2004 Q United Kingdom "150 Greatest Rock Lists" (30 Best Hip Hop Songs)[23] 20
2005 Q United Kingdom "Ultimate Music Collection" (Rap Tracks)[24] *
2006 Q United Kingdom "100 Greatest Songs Of All Time"[25] 51
2006 VH1 United States "100 Greatest Songs of the 80's"[26] 49
2007 Mojo United Kingdom "80 From The 80's"[27] *
2009 The Guardian United Kingdom "1000 Songs Everyone Must Hear" (Party Songs)[28] *
2010 XFM United Kingdom "Top 1000 Songs Of All Time"[29] 191
2014 NME United Kingdom "500 Greatest Songs Of All Time"[30] 166
(*) indicates the list is unordered.
Chart performance[edit]
Weekly charts[edit]
Chart (1987)
Peak
position
Australia (Kent Music Report)[31] 37
Belgium (Ultratop 50 Flanders)[32] 16
Canada Top Singles (RPM)[33] 7
Germany (Official German Charts)[34] 25
Ireland (IRMA)[35] 16
Netherlands (Dutch Top 40)[36] 10
Netherlands (Single Top 100)[37] 10
New Zealand (Recorded Music NZ)[38] 17
UK Singles (Official Charts Company)[39] 11
US Billboard Hot 100[40] 7
US Cash Box[41] 3
Chart (2012)
Peak
position
Belgium (Back Catalogue Singles Flanders)[42] 35
Japan Hot 100 Singles[40] 74
Year-end charts[edit]
Chart (1987)
Rank
Canada Top Singles (RPM)[43] 71
Netherlands (Single Top 100)[44] 66
US Billboard Hot 100[45] 98
US Cash Box[46] 49
Cover versions[edit]
On August 2, 2009, Coldplay performed an acoustic piano-based version of this song during their concert on the final night of the All Points West concert series as a tribute to the Beastie Boys, who were unable to perform on opening night following Adam Yauch's announcement that he had cancer.[47] The band performed this version again on May 4, 2012, at their concert at the Hollywood Bowl as a tribute to Yauch, who had died earlier that day.[48]
References[edit]
Jump up ^ "Fight For Your Right" at Discogs (list of releases)[better source needed]
Jump up ^ Matsumoto, Jon (May 2, 2012). "The Beastie Boys Provide A License To Party". Grammy Award. The Recording Academy. Retrieved February 20, 2014.
Jump up ^ Smith, Chris (2009). 101 Albums that Changed Popular Music. Oxford University Press. p. 189. ISBN 978-0-1953-7371-4. the hit single (You Gotta) Fight for Your Right (to Party) was a tongue-in-cheek rap/rock hybrid that largely satirized the white frat-boy audience that made the album such a big hit.
Jump up ^ Mitchell, Kevin M. (2003). Hip-hop Rhyming Dictionary: For Rappers, DJs and MCs. Alfred Music Publishing. p. 12. ISBN 978-0-7390-3333-3. The party anthem "(You Gotta) Fight for Your Right (To Party!)" by the Beastie Boys blended hard rock and rap.
Jump up ^ Stratton, Jon (2009). Jews, Race and Popular Music. Ashgate Publishing. p. 10. ISBN 978-0-7546-6804-6. The Beastie Boys' success came from their acceptance by African- American audiences while making rap understandable to white audiences by combining it with hard rock — the most important example of this being '(You Gotta) Fight for Your Right (To Party)'.
Jump up ^ "The Beastie Boys: The Fresh Air Interview". NPR Music. May 6, 2011. Retrieved February 20, 2014.
Jump up ^ Kaufman, Gil (March 4, 2013). "Beastie Boys Video Director Ric Menello Dead At 60". MTV. Viacom. Retrieved March 17, 2013.
Jump up ^ Marks, Craig; Tannenbaum, Rob (2011). I Want My MTV: The Uncensored Story of the Music Video Revolution. New York, NY: Dutton. pp. 278–79. ISBN 978-0-525-95230-5.
Jump up ^ Cara Quici at the Wayback Machine (archived May 18, 2014). Maxim. July 22, 2013.
Jump up ^ Kellman, Andy. "Cara Quici – Artist Biography". AllMusic. All Media Network. Retrieved February 20, 2014.
Jump up ^ "Village Voice - Pazz & Jop Lists > 1986: Singles". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "NME Singles 1987". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "Record Mirror End Of Year Lists 1987". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ Marsh, Dave; Bernard, James, eds. (1994). The New Book of Rock Lists. Fireside. ISBN 0-671-78700-4.
Jump up ^ "Experience The Music: One Hit Wonders and The Songs that Shaped Rock and Roll". Rock and Roll Hall of Fame and Museum. Retrieved March 25, 2014.
Jump up ^ "Hottest 100 of all time". Triple J Hottest 100. Retrieved March 25, 2014.
Jump up ^ "MTV: '100 Greatest Music Videos Ever Made'". Rock On the Net. Retrieved March 25, 2014.
Jump up ^ "Uncut – The 100 Greatest Singles Of The Post-Punk Era". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "VH1: 100 Greatest Videos". VH1. Rock On The Net. Retrieved March 25, 2014.
Jump up ^ "100 From 1977 - 2003: The 100 Best Songs Since Johnny Rotten Roared > 91 - 100". Archived from the original on October 3, 2003. . PopMatters. Retrieved March 25, 2014.
Jump up ^ "Q Special Edition - 1001 Best Songs Ever." Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "VH1's 100 Greatest Songs". VH1. CBS Interactive. June 10, 2003. Retrieved March 25, 2014.
Jump up ^ "150 Greatest Rock Lists Ever: Q Special Edition (July 2004)". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "The Q Ultimate Music Collection". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "Q - 100 Greatest Songs Of All Time". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "VH1: '100 Greatest Songs of the 80's': 1-50". VH1. Rock On The Net. Retrieved March 25, 2014.
Jump up ^ "Mojo – 80 From The 80's". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ "Series: 1000 songs everyone must hear – Part seven: Party songs". The Guardian. 20 March 2009. Retrieved March 25, 2014.
Jump up ^ "The XFM Top 1000 Songs Of All Time – 200 to 101: 191: Beastie Boys - Fight For Your Right To Party". XFM. Retrieved March 25, 2014.
Jump up ^ "NME 500 Greatest Songs Of All Time". Rocklist.net. Retrieved March 25, 2014.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6.
Jump up ^ "Ultratop.be – Beastie Boys – Fight For Your Right" (in Dutch). Ultratop 50. Retrieved February 20, 2014.
Jump up ^ "Top RPM Singles: Issue 0793." RPM. Library and Archives Canada. Retrieved February 20, 2014.
Jump up ^ "Offiziellecharts.de – Beastie Boys – Fight For Your Right". GfK Entertainment Charts. Retrieved February 20, 2014.
Jump up ^ "The Irish Charts – Search Results – You've got to fight for your right". Irish Singles Chart. Retrieved June 1, 2013.
Jump up ^ "Nederlandse Top 40 – week 16, 1987" (in Dutch). Dutch Top 40 Retrieved February 20, 2014.
Jump up ^ "Dutchcharts.nl – Beastie Boys – Fight For Your Right" (in Dutch). Single Top 100. Retrieved February 20, 2014.
Jump up ^ "Charts.org.nz – Beastie Boys – Fight For Your Right". Top 40 Singles. Retrieved February 20, 2014.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company. Retrieved July 2, 2013.
^ Jump up to: a b "Licensed to Ill – Awards". Archived from the original on March 1, 2014. . AllMusic. All Media Network.
Jump up ^ "CASH BOX Top 100 Singles – Week ending MARCH 14, 1987". Archived from the original on December 13, 2010. . Cash Box. Retrieved February 20, 2014.
Jump up ^ "50 Back Catalogue Singles – 12/05/2012". Ultratop. Hung Medien. Retrieved February 20, 2014.
Jump up ^ "Top 100 Singles of '87". RPM. Vol. 47 no. 12. December 26, 1987. Retrieved May 13, 2016.
Jump up ^ "Jaaroverzichten – Single 1987" (in Dutch). Single Top 100. Hung Medien. Retrieved February 20, 2014.
Jump up ^ "Top 100 Hits for 1987". The Longbored Surfer. Retrieved February 20, 2014.
Jump up ^ "The CASH BOX Year-End Charts: 1987". Archived from the original on December 13, 2010. . Cash Box. Retrieved February 20, 2014.
Jump up ^ "Coldplay Soar at All Points West With Anthems, Beastie Boys Cover". Rolling Stone. August 3, 2009. Retrieved February 20, 2014.
Jump up ^ "Coldplay pay tribute to Adam Yauch with Fight For Your Right performance". Metro. May 5, 2012. Retrieved February 20, 2014.
External links[edit]
"(You Gotta) Fight For Your Right (To Party)" Official music video on YouTube
Fight For Your Right Revisited at Hulu
[show]
v
t
e
Beastie Boys
Mike D
MCA
Ad-Rock
John Berry
Kate Schellenbach
Studio albums
Licensed to Ill
Paul's Boutique
Check Your Head
Ill Communication
Hello Nasty
To the 5 Boroughs
The Mix-Up
Hot Sauce Committee Part Two
Compilation albums
Some Old Bullshit
The In Sound from Way Out!
Beastie Boys Anthology: The Sounds of Science
Solid Gold Hits
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Polly Wog Stew
An Exciting Evening at Home with Shadrach, Meshach and Abednego
Pretzel Nugget
Root Down
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Mix Master Mike
Associated acts
The Young Aborigines
The Young and the Useless
Dust Brothers
Mario Caldato Jr.
BS 2000
The Latch Brothers
Filmography
Krush Groove
Tougher Than Leather
Awesome; I Fuckin' Shot That!
"Hell Is Other Robots"
Beastie Boys Video Anthology
Gunnin' for That No. 1 Spot
Fight for Your Right Revisited
Related articles
Discography
Songs
Grand Royal
Rat Cage
The Beastles
Oscilloscope Laboratories
Together Forever Tour
[show]
v
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Beastie Boys singles
Licensed to Ill
"Hold It Now, Hit It"
"The New Style"
"Paul Revere"
"Brass Monkey"
"(You Gotta) Fight for Your Right (To Party!)"
"No Sleep till Brooklyn"
"Girls"
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"Shadrach"
Check Your Head
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"So What'cha Want"
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To the 5 Boroughs
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The Mix-Up
"The Electric Worm"
Hot Sauce Committee Part Two
"Lee Majors Come Again"
"Too Many Rappers"
"Make Some Noise"
"Don't Play No Game That I Can't Win"
Other singles
"Cooky Puss"
"Rock Hard"
"She's on It"
"Alive"
"Now Get Busy"
Other songs
"In a World Gone Mad"
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Categories:
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text:
Too Much Time on My Hands
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Too Much Time on My Hands"
Single by Styx
from the album Paradise Theatre
B-side
"Queen of Spades"
Released
March 1981
Format
7"
Recorded
1980
Length
4:31
Label
A&M
Songwriter(s)
Tommy Shaw
Producer(s)
Styx
Styx singles chronology
"The Best of Times"
(1981) "Too Much Time on My Hands"
(1981) "Nothing Ever Goes as Planned"
(1981)
"The Best of Times"
(1981) "Too Much Time on My Hands"
(1981) "Nothing Ever Goes as Planned"
(1981)
"Too Much Time on My Hands" is the second single released from Styx's 1981 triple-platinum album Paradise Theatre. It was written and sung by Tommy Shaw, who also plays the lead guitar solo during the break in the song.
It reached No. 9 on the US Billboard Hot 100,[1] No. 2 on the Top Rock Tracks chart, and No. 4 on the RPM Top Singles chart of Canada.
Contents
[hide]
1 Personnel
2 In popular culture
3 References
4 External links
Personnel[edit]
Tommy Shaw – lead vocals, lead guitar
Dennis DeYoung – keyboards, backing vocals
James Young – rhythm guitar, backing vocals
Chuck Panozzo – bass
John Panozzo – drums
In popular culture[edit]
The song enjoyed a small revival when The Tonight Show host Jimmy Fallon started talking about the music video in April 2016.[2][3] This culminated with the episode on April 29, 2016 when Fallon showed a shot-by-shot reenactment of the video with him and guest Paul Rudd on the show.[4] In this video Fallon plays the part of Dennis DeYoung and Rudd plays Tommy Shaw, with A.D. Miles as James Young, Seth Herzog as John Panozzo, and Gerard Bradford as Chuck Panozzo.[5][6] Tommy Shaw has commented positively and said he was impressed with Fallon's vocals.[7]
References[edit]
Jump up ^ "Styx".
Jump up ^ "Jimmy Fallon & Paul Rudd recreate Styx Too Much Time On My Hands video - EW.com". Entertainment Weekly's EW.com.
Jump up ^ "Jimmy Fallon and Paul Rudd re-create Styx's 'Too Much Time On My Hands' video". UPI. 30 April 2016.
Jump up ^ Jimmy Fallon & Paul Rudd Recreate Styx Music Video. 29 April 2016 – via YouTube.
Jump up ^ "Watch Jimmy Fallon's and Paul Rudd's Remake of Styx's 'Too Much Time on My Hands' Video". Ultimate Classic Rock. 30 April 2016.
Jump up ^ Danielle Henderson (30 April 2016). "Jimmy Fallon and Paul Rudd Gave Us the Shot-For-Shot Styx Video Remake We Didn't Know We Needed". Esquire.
Jump up ^ "Jimmy Fallon Sings "Too Much Time on My Hands" - Styx". Styx.
External links[edit]
Songfacts
[hide]
v
t
e
Styx
Chuck Panozzo
James "J.Y." Young
Tommy Shaw
Todd Sucherman
Lawrence Gowan
Ricky Phillips
Dennis DeYoung
John Panozzo
John "J.C." Curulewski
Glen Burtnik
Studio albums
Styx (1972)
Styx II (1973)
The Serpent Is Rising (1973)
Man of Miracles (1974)
Equinox (1975)
Crystal Ball (1976)
The Grand Illusion (1977)
Pieces of Eight (1978)
Cornerstone (1979)
Paradise Theatre (1981)
Kilroy Was Here (1983)
Edge of the Century (1990)
Brave New World (1999)
Cyclorama (2003)
The Mission (2017)
Live albums
Caught in the Act (1984)
Return to Paradise (1997)
Arch Allies: Live at Riverport (2000)
Styx World: Live 2001 (2001)
At the River's Edge: Live in St. Louis (2002)
21st Century Live (2003)
One with Everything: Styx and the Contemporary Youth Orchestra (2006)
The Grand Illusion/Pieces of Eight - Live (2012)
Live at the Orleans Arena, Las Vegas (2015)
Compilations
Best of Styx (1977)
Lady (1980)
Styx Classics Volume 15 (1987)
Styx Radio-Made Hits 1975-1991 (1991)
Greatest Hits (1992)
Greatest Hits (1995)
Styx Greatest Hits Part 2 (1996)
The Best of Times: The Best of Styx (1997)
Best of Styx 1973-1974 (1999)
Extended Versions (2000)
Singles Collection (2000)
Styx Yesterday & Today (2001)
20th Century Masters (2002)
Rockers (2003)
Come Sail Away – The Styx Anthology (2004)
The Complete Wooden Nickel Recordings (2005)
Regeneration: Volume I & II (2011 & 2012)
Cover albums
Big Bang Theory (2005)
Songs
"Best Thing" (1972)
"Lady" (1973)
"You Need Love" (1975)
"Lorelei" (1976)
"Mademoiselle" (1976)
"Crystal Ball" (1977)
"Come Sail Away" (1977)
"Fooling Yourself (The Angry Young Man)" (1978)
"Blue Collar Man (Long Nights)" (1978)
"Sing for the Day" (1979)
"Renegade (1979)
"Babe" (1979)
"Why Me" (1980)
"Boat on the River (1980)
"Borrowed Time" (1980)
"Lights" (1980)
"First Time" (1980)
"The Best of Times" (1981)
"Too Much Time on My Hands" (1981)
"Nothing Ever Goes as Planned" (1981)
"Rockin' the Paradise" (1981)
"Snowblind" (1981)
"Mr. Roboto" (1983)
"Don't Let It End" (1983)
"High Time" (1983)
"Music Time" / "Heavy Metal Poisoning" (1984)
"Love Is the Ritual" (1990)
"Show Me the Way" (1991)
"Love at First Sight" (1991)
"Paradise" (1997)
"On My Way" (1997)
"Waiting for Our Time" (2003)
"I Am the Walrus" (2003)
"Can't Stop Rockin'" (2009)
"Gone Gone Gone" (2017)
Related articles
Discography
Book
Category
This 1980s rock song-related article is a stub. You can help Wikipedia by expanding it.
v
t
e
Retrieved from "https://en.wikipedia.org/w/index.php?title=Too_Much_Time_on_My_Hands&oldid=836493612"
Categories:
1981 singles
Styx (band) songs
Songs written by Tommy Shaw
A&M Records singles
1980 songs
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This page was last edited on 15 April 2018, at 03:30.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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navigation
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p-cactions-label

value:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

value:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

value: Featured content – the best of Wikipedia

value: Find background information on current events

value:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

value: portal navigation p-navigation p-navigation-label

value: Guidance on how to use and edit Wikipedia

value: About the project, what you can do, where to find things

value: A list of recent changes in the wiki [ctrl-alt-r]

value: portal navigation p-interaction p-interaction-label

value: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

value: Recent changes in pages linked from this page [ctrl-alt-k]

value:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

value: A list of all special pages [ctrl-alt-q]

value: Link to connected data repository item [ctrl-alt-g]

value: Printable version of this page [ctrl-alt-p]

value: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

value: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

value:
suggestions
display: none; font-size: 13px;

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Too_Much_Time_on_My_Hands rootpage-Too_Much_Time_on_My_Hands skin-vector action-view