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Origins of the blues
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Little is known about the exact origin of the music now known as the blues.[1] No specific year can be cited as the origin of the blues, largely because the style evolved over a long period and existed in approaching its modern form before the term blues was introduced and before the style was thoroughly documented. Ethnomusicologist Gerhard Kubik traces the roots of many of the elements that were to develop into the blues back to the African continent, the "cradle of the blues".[2] One important early mention of something closely resembling the blues comes from 1901, when an archaeologist in Mississippi described the songs of black workers which had lyrical themes and technical elements in common with the blues.[3]
Contents
[hide]
1 African roots
2 Influence of spirituals
3 Social and economic aspects
4 Blues around 1900
5 Continued development of the blues in the 1910s
6 Growth of the blues (1920s onward)
7 References
8 Notes
African roots[edit]
There are few characteristics common to all blues, as the genre takes its shape from the peculiarities of each individual performance.[4] Some characteristics, however, were present prior to the creation of the modern blues, and are common to most styles of African American music. The earliest blues-like music was a "functional expression, rendered in a call-and-response style without accompaniment or harmony and unbounded by the formality of any particular musical structure".[5] This pre-blues music was adapted from the field shouts and hollers performed during slave times, expanded into "simple solo songs laden with emotional content".[6]
Master Kora maker Alieu Suso in the Gambia
Many of these blues elements, such as the call-and-response format, can be traced back to the music of Africa. The use of melisma and a wavy, nasal intonation also suggests a connection between the music of West and Central Africa and the blues. The belief that blues is historically derived from the West African music including from Mali is reflected in Martin Scorsese’s often quoted characterization of Ali Farka Touré’s tradition as constituting "the DNA of the blues".[7]
Perhaps the most compelling African instrument that is a predecessor to an African-American instrument is the "Akonting", a folk lute of the Jola tribe of Senegambia. It is a clear predecessor to the American banjo in its playing style, the construction of the instrument itself and in its social role as a folk instrument. The Kora is played by a professional caste of praise singers for the rich and aristocracy (called griots or jalis) and is not considered folk music. Jola music was actually not influenced much by Islamic and North African/Middle Eastern music, and this may give us an important clue as to how African American music does not, according to many scholars such as Sam Charters, bear hardly any relation to kora music. Rather, African-American music may reflect a hold over from a pre-Islamicized form of African music. The music of the Akonting and that played by on the banjo by elder African-American banjo players, even into the mid 20th century is easily identified as being very similar. The akonting is perhaps the most important and concrete link that exists between African and African-American music.
However, while the findings of Kubik and others also clearly attest to the essential Africanness of many essential aspects of blues expression, studies by Willie Ruff and others have situated the origin of "black" spiritual music inside enslaved peoples' exposure to their masters' Hebridean-originated gospels.[8] African-American economist and historian Thomas Sowell also notes that the southern, black, ex-slave population was acculturated to a considerable degree by and among their Scots-Irish "redneck" neighbours. Additionally, there are theories that the four-beats-per-measure structure of the blues might share its origins with the Native American tradition of pow wow drumming.[9]
Influence of spirituals[edit]
A watercolor painting of a camp meeting circa 1839 (New Bedford Whaling Museum).
The most important American antecedent of the blues was the spiritual, a form of religious song with its roots in the camp meetings of the Great Awakening of the early 19th century. Spirituals were a passionate song form, that "convey(ed) to listeners the same feeling of rootlessness and misery" as the blues.[4] Spirituals, however, were less specifically concerning the performer, instead about the general loneliness of mankind, and were more figurative than direct in their lyrics.[4] Despite these differences, the two forms are similar enough that they can not be easily separated — many spirituals would probably have been called blues had that word been in wide use at the time.[10]
Social and economic aspects[edit]
Emancipation from Freedmen's viewpoint; illustration from Harper's Weekly 1865
Detail from cover of The Celebrated Negro Melodies, as Sung by the Virginia Minstrels, 1843
The social and economic reasons for the appearance of the blues are not fully known.[11] Blues has evolved from an unaccompanied vocal music of poor black laborers into a wide variety of styles and subgenres, with regional variations across the United States. African American work songs were an important precursor to the modern blues; these included the songs sung by laborers like stevedores and roustabouts, and the field hollers and "shouts" of slaves.[3][12] The first appearance of the blues is not well defined and is often dated between 1870 and 1900, a period that coincides with the emancipation of the slaves and the transition from slavery to sharecropping and small-scale agricultural production in the southern United States.
Several scholars characterize the early 1900s development of blues music as a move from group performances to a more individualized style. They argue that the development of the blues is associated with the newly acquired freedom of the slaves. According to Lawrence Levine,[13] "there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington's teachings, and the rise of the blues." Levine states that "psychologically, socially, and economically, Negroes were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did."
An important reason for the lack of certain knowledge about the origins of the blues is the earliest blues musicians' tendency to wander through communities, leaving little or no record of precisely what sort of music they played or where it came from. Blues was generally regarded as lower-class music, unfit for documentation, study or enjoyment by the upper- and middle-classes[14]
Blues around 1900[edit]
An 1890s photo of the tourist steamer Okahumke'e' on the Ocklawaha River, with black guitarists on board
Blue notes pre-date their use in blues. English composer Samuel Coleridge-Taylor's "A Negro Love Song", from his The African Suite for Piano composed in 1898, contains blue third and seventh notes.[15]
African American composer W. C. Handy wrote in his autobiography of the experience of sleeping on a train traveling through (or stopping at the station of) Tutwiler, Mississippi around 1903, and being awakened by:
... a lean, loose-jointed Negro who had commenced plucking a guitar beside me while I slept. His clothes were rags; his feet peeped out of his shoes. His face had on it some of the sadness of the ages. As he played, he pressed a knife on the strings in a manner popularized by Hawaiian guitarists who used steel bars. ... The effect was unforgettable. His song, too, struck me instantly... The singer repeated the line ("Going' where the Southern cross' the Dog") three times, accompanying himself on the guitar with the weirdest music I had ever heard.
Handy had mixed feelings about this music, which he regarded as rather primitive and monotonous,[16] but he used the "Southern cross' the Dog" line in his 1914 "Yellow Dog Rag", which he retitled "Yellow Dog Blues" after the term blues became popular.[17] "Yellow Dog" was the nickname of the Yazoo and Mississippi Valley Railroad.
Blues later adopted elements from the "Ethiopian (here, meaning "black") airs" of minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment.[18] The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music".[19]
Since the 1890s, the American sheet music publishing industry had produced a great deal of ragtime music. The first published ragtime song to include a 12-bar section was "One o' Them Things!" in 1904. Written by James Chapman and Leroy Smith, it was published in St. Louis, Missouri, by Jos. Plachet and Son.[20] Another early rag/blues mix was "I Got the Blues" published in 1908 by Anthony Maggio of New Orleans [21]
In a long interview conducted by Alan Lomax in 1938, Jelly Roll Morton recalled that the first blues he had heard, probably around 1900, was played by a singer and prostitute, Mamie Desdunes, in Garden District, New Orleans. Morton sang the blues: "Can’t give me a dollar, give me a lousy dime/ You can’t give me a dollar, give me a lousy dime/ Just to feed that hungry man of mine". The interview was released as The Complete Library of Congress Recordings.[22]
Continued development of the blues in the 1910s[edit]
In 1912 the sheet music industry published another blues composition—"Dallas Blues" by Hart A. Wand of Oklahoma City, Oklahoma.[23] Two other blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements, were also published in 1912: "Baby Seals' Blues" by Baby F. Seals (arranged by Artie Matthews) and "Memphis Blues", another ragtime arrangement with a single 12-bar section,[24] by W. C. Handy.[25] Also in 1912 (on November 9), another song, "The Blues", was copyrighted by LeRoy "Lasses" White, but not actually published until 1913.[26]
Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the "Father of the Blues"; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Afro-Cuban habanera rhythm that had long been a part of ragtime;[27][28] Handy's signature work was the St. Louis Blues.
Songs from this period had many different structures. A testimony of those times can be found for instance in Henry Thomas's recordings. However, the twelve-, eight-bar, or sixteen-bar structure based on tonic, subdominant and dominant chords became the most common.[29] Melodically, blues music is marked by the use of the lowered third and dominant seventh (so-called blue notes) of the associated major scale.[30] The standard 12-bar blues form is noted in uncorroborated oral histories as appearing communities throughout the region along the lower Mississippi River during the decade of the 1900s (and performed in New Orleans at least since 1908). One of these early sites of blues evolution was along Beale Street in Memphis, Tennessee. However, author Eileen Southern has pointed out several contrasting statements by old-time musicians. She cites Eubie Blake as saying "Blues in Baltimore? Why, Baltimore is the blues!" and Bunk Johnson as claiming that the blues was around in his childhood, in the 1880s.[1]
Growth of the blues (1920s onward)[edit]
One of the first professional blues singers was Ma Rainey, who claimed to have coined the term blues. Classic female urban or vaudeville blues singers were popular in the 1920s, among them Mamie Smith, Gertrude Ma Rainey, Bessie Smith, and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African- American to record a blues in 1920; her "Crazy Blues" sold 75,000 copies in its first month.[31]
The musical forms and styles that are now considered the "blues" as well as modern "country music" arose in the same regions during the nineteenth century in the southern United States. Recorded blues and country can be found from as far back as the 1920s, when the popular record industry developed and created marketing categories called "race music" and "hillbilly music" to sell music by blacks for blacks and by whites for whites respectively. At the time, there was no clear musical division between "blues" and "country", except for the race of the performer, and even that sometimes was documented incorrectly by record companies.[32]
References[edit]
Curiel, Jonathan (August 15, 2004). "Muslim Roots of the Blues". SFGate. Archived from the original on September 5, 2005. Retrieved August 24, 2005.
Ewen, David (1957). Panorama of American Popular Music. Prentice Hall. ISBN 0-13-648360-7.
Ferris, Jean (1993). America's Musical Landscape. Brown & Benchmark. ISBN 0-697-12516-5.
Garofalo, Reebee (1997). Rockin' Out: Popular Music in the USA. Allyn & Bacon. ISBN 0-205-13703-2.
Hamilton, Marybeth (2007). In Search of the Blues. Jonathan Cape. ISBN 9780224060189.
Oliver, Paul (1970). Savannah syncopators: African retentions in the blues. Studio Vista. ISBN 0-289-79828-0.
Schuller, Gunther (1968). Early Jazz: Its Roots and Musical Development. Oxford University Press. ISBN 0-19-504043-0.
Southern, Eileen (1997). The Music of Black Americans. W. W. Norton & Company, Inc. ISBN 0-393-03843-2.
Notes[edit]
^ Jump up to: a b Southern, pg. 332
Jump up ^ Kubik, Gerhard (1999). Africa and the Blues. Jackson, MI: University Press of Mississippi. ISBN 1-57806-146-6
^ Jump up to: a b Southern, pg. 334
^ Jump up to: a b c Southern, pg. 333
Jump up ^ Garofalo, pg. 44
Jump up ^ Ferris, pg. 229
Jump up ^ Global South: Our Homage To A Great Master - Ali Farka Toure
Jump up ^ Paul Kelbie, "Gospel Truth - Hebrides Invented Church Spirituals", The Independent - UK, 9-19-3
Jump up ^ "MUSIC: Exploring Native American influence on the blues".
Jump up ^ Southern, pg. 333-334
Jump up ^ Philip V. Bohlman, "Immigrant, folk, and regional music in the twentieth century", in 'The Cambridge History of American Music', ed. David Nicholls, 1999, Cambridge University Press, ISBN 0-521-45429-8, pg. 285
Jump up ^ http://www.stg.brown.edu/projects/MusicAtlas/Volume2/playpagevol2ch10.html
Jump up ^ Lawrence W. Levine, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, Oxford University Press, 1977, ISBN 0-19-502374-9, pg. 223
Jump up ^ Southern, 332-333
Jump up ^ Scott, Derek B. From the Erotic to the Demonic: On Critical Musicology. Oxford University Press (2003) page 182: "A blues idiom is hinted at in "A Negro Love-Song", a pentatonic melody with blue third and seventh in Colridge-Taylor's African Suit of 1898, many years before the first blues publications."
Jump up ^ Parrish, Tim; Walking Blues: Making Americans from Emerson to Elvis, University of Massachusetts Press (2001), p. 185: "Handy declares their music to be an endless 'monotony,' a 'thump-thump-thump' sound that he associates—with evident distaste—with 'cane rows and levee camps' (77). Nor does he admire the enthusiastic dancing the music elicits."
Jump up ^ Wald, Elijah; Escaping the Delta: Robert Johnson and the Invention of the Blues, Harper Collins (2004), p. 283: "When the popular taste for blues asserted itself I took out that old number and changed its name to 'Yellow Dog Blues.' Other than the name, I altered nothing."
Jump up ^ Garofalo, pg. 44 Gradually, instrumental and harmonic accompaniment were added, reflecting increasing cross-cultural contact. Garofalo goes on to cite others mentioning the "Ethiopian airs" and "Negro spirituals".
Jump up ^ Schuller, cited in Garofalo, pg. 27
Jump up ^ Saffle, Michael, Perspectives on American Music, 1900-1950, Routledge (2000) page 74: "Chapman and smith's "One O' Those Things" (1904) an earlier blues/rag mix (see Figure 3.2)."
Jump up ^ Saffle, Michael, Perspectives on American Music, 1900-1950, Routledge (2000) page 74: "In Maggio's "I Got the Blues" (1908), a twelve-bar blues in G Major is followed by a section in G minor, ending with a rag riff (see Figure 3.1).
Jump up ^ Hamilton, Marybeth (2007). pp. 130–132. Missing or empty |title= (help)
Jump up ^ Samuel B. Charters, The Country Blues (Da Capo Press, 1975), ISBN 0-306-80014-4, pages 34-35: "The first was Hart Wand's "Dallas Blues", published in March; the second was Arthur Seals's "Bab Seals' Blues", published in August; Handy finally brought out his blues in September. Both Handy and Arthur Seals were Negroes, but the music that they titled "blues is more or less derived from the standard popular musical styles of the "coon-song" and "cake-walk" type. It is ironic the first published piece in the Negro "blues idiom", Dallas Blues, was by a white man, Hart Wand."
Jump up ^ Saffle, Michael, Perspectives on American Music, 1900-1950, Routledge (2000) page 74: "White's "Original Chicago Blues" (1915) is a later blues/rag almagam, as is "The Memphis Blues."
Jump up ^ Garofalo, pg. 27; Garofalo cites Barlow in Handy's sudden success demonstrated [the] commercial potential of [the blues], which in turn made the genre attractive to the Tin Pan Alley hacks, who wasted little time in turning out a deluge of imitations. (parentheticals in Garofalo)
Jump up ^ Monge, Luigi; David Evans. "New Songs of Blind Lemon Jefferson". Journal of Texas Music History 3:2 (Fall 2003), p. 19: "In fact, in addition to its textual relationship in the first stanza to 'Michigan Water Blues,' Jefferson's 'Light House Blues' is related textually and musically to an even older song, 'The Negro Blues'/'Nigger Blues' by Leroy 'Lasses' White of Dallas. White registered his tune with a set of fifteen three-line stanzas for copyright on November 9, 1912, under the former title. In 1913, a shortened version of the piece was published under the latter infelicitous title, containing only six stanzas, five of which are close variants of stanzas in the longer version and one of which is new."
Jump up ^ Garofalo, pg. 27
Jump up ^ Morales, pg. 277
Jump up ^ Garofalo, pgs. 46-47
Jump up ^ Ewen, pg. 143
Jump up ^ Hawkeye Herman, General background on African American Music, Blues Foundation, Essays: What is the blues? "Archived copy". Archived from the original on December 10, 2008. Retrieved October 15, 2010.
Jump up ^ Garofalo, pgs. 44-47 As marketing categories, designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources. Nothing could have been further from the truth... In cultural terms, blues and country were more equal than they were separate. Garofalo claims that artists were sometimes listed in the wrong racial category in record company catalogues.
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text:
Matt Flinders
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Matt Flinders
Birth name
Sylvan Louis Bonett
Also known as
Louis Bonett
Born
c. 1937
Alexandria, Egypt
Origin
Melbourne, Victoria, Australia
Occupation(s)
Musician
TV presenter
radio presenter
Instruments
Vocals
guitar
double bass
Labels
Astor
Fable
Matt Flinders (born Sylvan Louis Bonett c. 1937, Alexandria, Egypt) is a former singer and TV presenter who rose to prominence in the late 1960s in Australia. He had top 5 hit singles with his cover versions of "Picking Up Pebbles" (1969) and "Butterfly" (1971). He hosted his own variety shows, The Matt Flinders Show (1972) and Matt Flinders and Friends (1973) on ABC-TV.
Contents
[hide]
1 Biography
1.1 Private life
2 Discography
2.1 Albums
2.2 Singles
3 References
Biography[edit]
Matt Flinders was born c. 1937 as Sylvan Louis Bonett in Egypt of mixed (French, English, Italian) descent.[1][2] With his parents and siblings he moved to the United Kingdom in 1950, then to Australia in 1951. Bonett undertook National Service with the Royal Australian Air Force at Point Cook, Victoria in the mid-1950s. He then began singing and playing guitar in Melbourne under the name, Louis Bonett.[2] He played double bass with musical groups, which toured Japan and Australia. In the early 1960s he returned to England, formed another musical group, and worked in London for four years.
When Flinders returned to Australia in the mid-1960s, he led the house band, as well as singing and playing double bass, at the Chevron Hotel, Melbourne. During that time he sang ads for Australian radio and TV. These came to the attention of Ron Tudor of Astor Records, who signed Flinders to a recording contract. Tudor suggested a name change so that DJs would remember and pronounce it correctly – he chose Matt Flinders for the explorer of a similar name.[1][2]
Flinders' first recording for Astor was a cover version of Herman's Hermits' track "Something Is Happening".[3] His second single, "Picking Up Pebbles", was a cover version of a 1968 track by UK artist Johnny Curtis (a.k.a. Bobby Kerr), which was released by Flinders in late 1969.[1][4][5] It peaked at No. 4 on the Go-Set National Top 40 singles chart.[6]
Flinders' later recorded material appeared on Tudor's own label, Fable Records. He had another No. 4 hit with his version of Danyel Gérard's "Butterfly" (late 1971).[7] Gérard's own version of "Butterfly" reached No. 11 on the same chart.[8] Late in 1972 he issued another single, "You", which was written by Flinders and reached the top 40.[9][10]
Flinders began working as a presenter for Australian Broadcasting Corporation to present shows on both radio and TV. His TV variety shows were The Matt Flinders Show, with 13 weekly episodes from June 1972,[2] and Matt Flinders and Friends in 1973.[11] One year his television program won an award.[12]
Private life[edit]
After Matt Flinders had retired from the entertainment industry he worked as a civil celebrant (as Sylvan Bonett) with his wife, Coralie, in Adelaide.
Three of Flinders' brothers also had musical careers. Arnold Lloyd Bonett (c. 1930–2016),[13] the eldest, performed as an operatic bass baritone at the National Theatre, Melbourne and for the ABC – he received an award from the Italian Opera Festival Organisation in 1961; before he made a career change to the corporate world. Roland Bonett (c. 1934–2002)[13] was a popular performer and dance band leader in Melbourne.
In 1965 the youngest brother, Christian ("Chris") Bonett, was recruited in Sydney by Dave Guard (who had left a US singing group, the Kingston Trio, in 1961).[14] Chris also appeared on Guard's national TV series, Dave's Place (mid-1965) for ABC in the house band on electric bass guitar and vocals with Guard on vocals, electric and acoustic guitars, banjo and tambourine and Len Young on drums; they were joined by alternate female lead vocalists: Frances Stone, Kerrilee Male or Norma Shirlee Stoneman.[14][15] He worked for two decades as a singer and bass guitarist with rock and pop bands in Australia, UK and US.[14] He worked at Club Med resorts in France, Switzerland and the Caribbean. Chris was later a computer programmer for a farm cooperative in Kansas City, Missouri.[14]
Discography[edit]
Albums[edit]
The Matt Flinders Album (1971) – Fable Records (FBSA-101)[16]
Matt Flinders on TV (by Matt Flinders and Friends) (1972) – Fable Records (FBSA-020)[16][17]
Singles[edit]
"Something Is Happening" (by Matt Flinders with orchestra) (1969) – Astor Records (A-7132)[18]
"Picking Up Pebbles" (late 1969) – Astor Records (A-7150)[18] AUS: No. 4[6]
"Where Has all the Love Gone?" (early 1970) – Astor Records (A-7163)[18] AUS: No. 35[19]
"All of a Sudden" (late 1970) – Fable Records (FB-032)[16] AUS: No. 37[20]
"How Great Thou Art" (mid-1971) – AUS: No. 60[21]
"Butterfly" (late 1971) – Fable Records (FB-077)[16] AUS: No. 4[7]
"You" (late 1972) – AUS: No. 39[9]
References[edit]
^ Jump up to: a b c "Picking Up Pebbles". Where Did They Get That Song?. PopArchives (Lyn Nuttall). Retrieved 8 December 2017.
^ Jump up to: a b c d Musgrove, Nan (28 June 1972). "Two Centuries Later, Another Matt Flinders". The Australian Women's Weekly. 40 (4). p. 25. Retrieved 8 December 2017 – via National Library of Australia. Note: includes a colour photo of Flinders with regular guest, Mary Jane Boyd. Last name spelled as Bonnet.
Jump up ^ "'Something Is Happening' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 8 December 2017. Note: For additional work user may have to select 'Search again' and then 'Enter a title:' or 'Performer:'
Jump up ^ Nimmervoll, Ed (11 October 1969). "National Top 40". Go-Set. Waverley Press. Retrieved 8 December 2017.
Jump up ^ "Matt Flinders – Picking up Pebbles". Archived from the original on 25 December 2005. Retrieved 16 December 2007.
^ Jump up to: a b Nimmervoll, Ed (10 January 1970). "National Top 40". Go-Set. Waverley Press. Retrieved 8 December 2017.
^ Jump up to: a b Nimmervoll, Ed (15 January 1972). "National Top 40". Go-Set. Waverley Press. Retrieved 8 December 2017.
Jump up ^ Nimmervoll, Ed (4 December 1971). "National Top 40". Go-Set. Waverley Press. Retrieved 8 December 2017.
^ Jump up to: a b Nimmervoll, Ed (23 September 1972). "National Top 40". Go-Set. Waverley Press. Retrieved 9 December 2017.
Jump up ^ "'You' at APRA search engine". Australasian Performing Right Association (APRA). Retrieved 9 December 2017. Note: For additional work user may have to select 'Search again' and then 'Enter a title:' or 'Performer:'
Jump up ^ "Films for the Week". The Canberra Times. 46 (13,154). 19 June 1972. p. 13. Retrieved 8 December 2017 – via National Library of Australia.
Jump up ^ "Matt Flinders". Matt Flinders Official Website. Archived from the original on 25 December 2005. Retrieved 16 December 2007.
^ Jump up to: a b "The Ryerson Index". Ryerson Index Inc. Retrieved 8 December 2017. . Note: User must add 'Bonett' into the Surname search parameter
^ Jump up to: a b c d Bradshaw, Ken. "The Dave's Place Group". LazyKa.com. Retrieved 9 December 2017.
Jump up ^ J. H. (20 July 1965). "Leisure TV Drama Music Art Books Radio The Arts: Good for Ohio, Better for Australia". The Canberra Times. 39 (11,212). p. 9. Retrieved 9 December 2017 – via National Library of Australia.
^ Jump up to: a b c d Kimball, Duncan (2002). "Record Labels – Fable Records". Milesago: Australasian Music and Popular Culture 1964–1975. Ice Productions. Archived from the original on 7 March 2008. Retrieved 8 December 2017.
Jump up ^ Dennis W. Nicholson (ed.). "Matt Flinders and Friends". Australian Soundtracks. Archived from the original on 7 May 2010. Retrieved 8 December 2017.
^ Jump up to: a b c Kimball, Duncan (2002). "Record Labels – Astor Records". Milesago: Australasian Music and Popular Culture 1964–1975. Ice Productions. Archived from the original on 7 March 2008. Retrieved 8 December 2017.
Jump up ^ Nimmervoll, Ed (18 April 1970). "National Top 40". Go-Set. Waverley Press. Retrieved 9 December 2017.
Jump up ^ Nimmervoll, Ed (16 January 1971). "National Top 60". Go-Set. Waverley Press. Retrieved 9 December 2017.
Jump up ^ Nimmervoll, Ed (3 July 1971). "National Top 60". Go-Set. Waverley Press. Retrieved 9 December 2017.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Matt_Flinders&oldid=827154327"
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Answered Prayers: The Unfinished Novel
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011) (Learn how and when to remove this template message)
Answered Prayers
First Edition
Author
Truman Capote
Cover artist
Craig Dodd
Country
United States
Language
English
Genre
Political novel
Publisher
Hamish Hamilton (London)
Publication date
1986
Media type
Print (hardback & paperback)
Pages
181 pp
ISBN
0-241-11962-6 (Paperback edition)
OCLC
29357384
Answered Prayers is an unfinished novel by American author Truman Capote, published posthumously in 1986 in England and 1987 in the United States.
Contents
[hide]
1 History
2 Composition
3 Theories regarding missing chapters
4 References
5 External links
History[edit]
The title of the book refers to a quote by Saint Teresa of Ávila that Capote chose as an epigraph: "More tears are shed over answered prayers than unanswered ones".[1][2]
According to Joseph M. Fox's editor's note to the 1987 edition, Capote signed the initial contract for the novel—envisioned as being a contemporary American analog to Marcel Proust's In Search of Lost Time—on January 5, 1966 with Random House. This agreement provided a $25,000 advance with a stipulated delivery date of January 1, 1968.[3]
Distracted by the unprecedented success of his "nonfiction novel" In Cold Blood amid the gestation of the Black and White Ball (a party thrown by Capote in honor of Katharine Graham at the Plaza Hotel in November 1966), various television projects, short pieces and increasing personal demons, Capote missed his 1968 deadline. In July 1969, the superannuated 1966 contract was renegotiated, granting a "substantially larger" $750,000 advance in exchange for a trilogy to be delivered in January 1973.[4][5] The delivery date was further delayed to January 1974 and then September 1977.[4] A final agreement in early 1980 would have yielded Capote $1 million to have been paid only if he submitted the manuscript by March 1, 1981. This final deadline was not kept.[6]
In May 1971, on The Dick Cavett Show, Capote referred to the book as his "posthumous novel", explaining, "either I'm going to kill it, or it's going to kill me".
The book is a somewhat sordid tale of the mixing of high and low social classes, drawn from his experiences as best friend and confidant to the most prominent female socialites of the era and their husbands. The first chapter of Answered Prayers, "Unspoiled Monsters", chronicles the "picaresque" exploits of P.B. Jones, a young writer (enmeshed in the process of writing a novel, Answered Prayers) and "bisexual hustler" who "beds men and women alike if they can further his literary career" in the 1940s New York literary milieu; accordingly, both Katherine Anne Porter and Tennessee Williams are depicted in a vituperative light.[5] Jones (who later appears as the main interlocutor in "La Cote Basque") is believed to be a composite of Capote, Perry Smith from In Cold Blood, and Capote's late friend Denham Fouts. The eponymous protagonist of the comparatively obfuscatory "Kate McCloud" (and the ostensible heroine of the novel) was inspired by Mona von Bismarck, the eldest of Capote's society friends.[7]
By 1975, Capote's increasingly outrageous public behavior—fueled by alcohol, drugs and sexual indiscretion—led many to believe that he had no intention of ever publishing Answered Prayers and had essentially given up writing to follow in the footsteps of his fabulous friends as a professional socialite. To prove that he was still a viable and productive writer, Capote sold four chapters ("Mojave", "La Cote Basque", "Unspoiled Monsters", and "Kate McCloud") of the novel-in-progress to Esquire at the behest of Gordon Lish in 1975 and 1976. The first of the these chapters, "Mojave," was published in the June 1975 issue of Esquire to little fanfare. However, with the publication of "La Cote Basque" in the November 1975 issue of the magazine, there was an uproar of shock and anger among Capote's friends and acquaintances, who recognized thinly veiled characters based on themselves. Both "Mojave" and "La Cote Basque" were exposes of the dysfunctional personal lives led by the author's social benefactors, including CBS head William S. Paley, his wife Babe (then terminally ill with cancer), Gloria Vanderbilt (depicted as being insufferably vacuous), Happy Rockefeller, and Ann Woodward. The Paleys would never socialize with Capote again and led an exodus of ostracizing friends. Subsequently, "Unspoiled Monsters" and "Kate McCloud" were published in the periodical in May 1976 and December 1976, respectively.
From a literary viewpoint the chapters received a mixed reaction. Some, like Capote biographer Gerald Clarke, consider Answered Prayers to be the culmination of the factual novel form first employed by the author with In Cold Blood and a testimonial to his talent's ability to transcend substance abuse. Others, namely Norman Mailer, praised Capote's technique but questioned the seemingly frivolous plotline of escapades among the socially outmoded jet set.
Composition[edit]
In the introduction to his 1980 collection, Music for Chameleons, Capote detailed the writing process of the novel:
For four years, roughly from 1968 through 1972, I spent most of my time reading and selecting, rewriting and indexing my own letters, other people's letters, my diaries and journals (which contain detailed accounts of hundreds of scenes and conversations) for the years 1943 through 1965... in 1972 I began work on [Answered Prayers] by writing the last chapter [presumably "Father Flanagan's All-Night Nigger Queen Kosher Cafe"] first (it's always good to know where one is going). Then I wrote the first chapter, "Unspoiled Monsters". Then the fifth, "A Severe Insult to the Brain". Then the seventh, "La Cote Basque". I went on in this manner, writing different chapters out of sequence. I was able to do this only because the plot—or rather plots—was true, and all the characters were real... I hadn't invented anything...
If this chronology is to be believed, Capote stopped work on Answered Prayers in September 1977 after suffering what he considered to be a "nervous breakdown". After a period of consideration and reorganization, he claimed to have completed substantial revisions on the chapters published in Esquire with the exception of "Mojave", a vignette situated outside of the diegetic framework of the novel that was intended to be the second chapter before Capote elected to excise it from the work; in 1980, it was republished as a standalone short story in Music for Chameleons.
However, further evidence makes Capote's statements seem less credible. Fox corroborates Capote to a large extent and claimed to have seen all four of the Esquire chapters in 1975, but Gerald Clarke's biography indicates that only the recently written "Mojave" and "La Cote Basque" were in any sort of publishable condition by that date. (Nevertheless, both "Unspoiled Monsters" and "Kate McCloud" were published in 1976, a period coinciding with one of the lowest ebbs in Capote's personal life.) Capote's legendary and almost stenographic journals, considered by a minority of friends to have been the foundation of his literary output, have never surfaced after his death, let alone in a revised form. By all accounts, he spent those years in a drug- and alcohol-induced haze.
Theories regarding missing chapters[edit]
Comparable in length to Capote's earlier works of long fiction, the three chapters published in Esquire were collected by Random House in 1987 as Answered Prayers: The Unfinished Novel. An unpublished short narrative bearing the title of one of the missing chapters ("Yachts and Things") was later found among Capote’s papers in the Manuscripts and Archives Division of the New York Public Library and published in the December 2012 issue of Vanity Fair,[5] which billed it as the long-lost work. Apart from its title, however, the piece appears to be a separate work, and in 2013 it was added to a Modern Library edition of The Complete Stories of Truman Capote as a self-contained story.
Revised versions of the Esquire chapters and "Yachts and Things" that were purported to have existed, along with "A Severe Insult to the Brain" (a vignette about Jerry Zipkin, a prominent real estate heir, social escort, and Nancy Reagan intimate); "And Audrey Wilder Sang" (an account of "the beautiful people of Hollywood and New York... and how they're not so beautiful"); and "Father Flanagan's..." (the final chapter) have never been located.[8] In the years prior to his death, Capote frequently read from these chapters to friends at dinners, but such was his gift of storytelling that few could discern whether he was actually reading from a manuscript or improvising. He arranged to sell "Father Flanagan's..." to Esquire during Clay Felker's editorship in the early 1980s for $35,000; although he claimed that he only "needed to tighten a few screws," the excerpt was never submitted.[9] Capote alleged that lover John O'Shea had absconded with "A Severe Insult to the Brain" in 1977 and subsequently sued for repossession, but he eventually reconciled with O'Shea and dropped the lawsuit in 1981.[5] According to Joseph Fox, at least four of Capote's friends (including John Knowles and Lester Persky) reportedly read or listened to Capote read selections from "some of the... chapters... probably 'Father Flanagan's All-Night Nigger Queen Kosher Cafe' and 'A Severe Insult to the Brain,'" while Persky professed to have copied and bound a complete manuscript that subsequently vanished.[10]
Longtime Capote confidante Joanne Carson contended that she read three "very long" chapters ("And Audrey Wilder Sang", "Yachts and Things", and "Father Flanagan's...") that completed the novel in the early 1980s. On the morning preceding his death, Capote handed a key to Carson for a safe deposit box or locker that contained the completed novel, stating that "[the chapters] will be found when they want to be found." When Carson pressed Capote for a precise location, he proffered myriad locations in various locales that he frequented, including Manhattan, Palm Springs, Los Angeles and New Orleans. An exhaustive search for the manuscript after Capote's death yielded nothing.[11]
In his editor's note, Fox "hesitantly" theorized that the chapters did exist at one juncture but were "deliberately destroyed" by Capote in the early 1980s.[12] Andreas Brown likewise believes that Capote, a trenchant perfectionist, "may well have destroyed the manuscripts" during his intermittent periods of sobriety.[13]
A third and less tantalizing belief held by a minority of Capote's closest friends (including Andy Warhol and Capote's life partner Jack Dunphy) was that the publication of "La Cote Basque" had traumatized Capote to the extent where he ceased all work on Answered Prayers after finishing "Kate McCloud" and was incapable of finishing it. In his diary, Warhol made frequent mention of drunken ramblings related to the novel by Capote but was never able to secure any serious plot details. When he did discuss the contents of one of the chapters to a privileged Brigid Berlin, Warhol was incensed that she did not tape the discussion.[10]
References[edit]
Notes
Jump up ^ Coughlin, Paul (2008). No More Jellyfish, Chickens or Wimps. Raising Secure, Assertive Kids in a Tough World. Bloomington, Minnesota: Bethany House. p. 36. ISBN 978-0-764-20580-4. ISBN 0-76420580-3.
Jump up ^ Ahern, Rosemary, ed. (2012). The Art of the Epigraph. How Great Books Begin. New York City: Simon & Schuster. p. 49. ISBN 978-1-451-69327-0. ISBN 1-45169327-3.
Jump up ^ Capote Truman: Answered Prayers: The Unfinished Novel, page xi. Random House, 1987
^ Jump up to: a b Capote Truman: Answered Prayers: The Unfinished Novel, page xii. Random House, 1987
^ Jump up to: a b c d The Self-Destructive Spiral of Truman Capote After Answered Prayers | Vanity Fair
Jump up ^ Capote, Truman: Answered Prayers: The Unfinished Novel, page xiii. Random House, 1987
Jump up ^ The New York Times: Book Review Search Article
Jump up ^ Capote Truman: Answered Prayers: The Unfinished Novel, page xviii. Random House, 1987
Jump up ^ Plimpton, George: "Truman Capote", page 442. Anchor Books, 1998
^ Jump up to: a b Plimpton, George: "Truman Capote", page 448. Anchor Books, 1998
Jump up ^ Plimpton, George: "Truman Capote", page 449-51. Anchor Books, 1998
Jump up ^ Capote Truman: Answered Prayers: The Unfinished Novel, page xxi. Random House, 1987
Jump up ^ Plimpton, George: "Truman Capote", page 440. Anchor Books, 1998
Bibliography
Clarke, Gerald (1988). Capote, A Biography (1st ed.). New York: Simon and Schuster. ISBN 978-0-241-12549-6.
External links[edit]
PBS bio (American Masters)
[hide]
v
t
e
Works by Truman Capote
Novels
Summer Crossing
Other Voices, Other Rooms
The Grass Harp
Breakfast at Tiffany's
Answered Prayers: The Unfinished Novel
Short stories
Miriam
Children on Their Birthdays
A Diamond Guitar
A Christmas Memory
The Thanksgiving Visitor
One Christmas
Short story collections
A Tree of Night and Other Stories
Music for Chameleons
Essay collections
Local Color
The Dogs Bark: Public People and Private Places
Plays
The Grass Harp
Screenplays
Beat the Devil
Terminal Station (dialogue)
The Innocents (dialogue)
Laura
Musicals
House of Flowers
Non fiction
The Muses Are Heard
Observations
In Cold Blood
Too Brief a Treat: The Letters of Truman Capote
Authority control
WorldCat Identities
VIAF: 206709720
GND: 7757323-7
BNF: cb16581874h (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Answered_Prayers:_The_Unfinished_Novel&oldid=818244697"
Categories:
1986 American novels
Novels by Truman Capote
Unfinished novels
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Hamish Hamilton books
Literature about alcohol abuse
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text:
List of National Basketball Association career free throw scoring leaders
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article provides two lists:
A list of National Basketball Association players by total career regular season free throws made.
A progressive list of free throws made leaders showing how the record has increased through the years.[1]
Contents
[hide]
1 Free Throws Made Leaders
2 Progressive List of Career Free Throw Leaders
3 References
4 External links
Free Throws Made Leaders[edit]
This is a list of National Basketball Association players by total career regular season free throws made.
Statistics accurate as of the conclusion of the 2017–18 NBA season on April 11, 2018.
^ Active NBA player
* Inducted into the Naismith Memorial Basketball Hall of Fame
† Not yet eligible for Hall of Fame consideration [2]
Rank
Player
Position(s)
Team(s) played for (years)[3]
Total free throws
made
Total free throws
attempted
Free throw
percentage
1 Malone, KarlKarl Malone* PF Utah Jazz (1985–2003)
Los Angeles Lakers (2003–2004) 9,787 13,188 .742
2 Malone, MosesMoses Malone* C Buffalo Braves (1976)
Houston Rockets (1976–1982)
Philadelphia 76ers (1982–1986, 1993–1994)
Washington Bullets (1986–1988)
Atlanta Hawks (1988–1991)
Milwaukee Bucks (1991–1993)
San Antonio Spurs (1994–1995) 8,531 11,090 .769
3 Bryant, KobeKobe Bryant† SG Los Angeles Lakers (1996–2016) 8,378 10,011 .837
4 Robertson, OscarOscar Robertson* PG Cincinnati Royals (1960–1970)
Milwaukee Bucks (1970–1974) 7,694 9,185 .838
5 Jordan, MichaelMichael Jordan* SG Chicago Bulls (1984–1993, 1995–1998)
Washington Wizards (2001–2003) 7,327 8,772 .835
6 Nowitzki, DirkDirk Nowitzki^ PF Dallas Mavericks (1999–present) 7,201 8,189 .879
7 West, JerryJerry West* PG/SG Los Angeles Lakers (1960–1974) 7,160 8,801 .814
8 Pierce, PaulPaul Pierce† SF Boston Celtics (1999–2013)
Brooklyn Nets (2013–2014)
Washington Wizards (2014–2015)
Los Angeles Clippers (2015–2017) 6,918 8,578 .806
9 James, LeBronLeBron James^ SF Cleveland Cavaliers (2003–2010, 2014–present)
Miami Heat (2010–2014) 6,862 9,283 .739
10 Dantley, AdrianAdrian Dantley* SF Buffalo Braves (1976–1977)
Indiana Pacers (1977)
Los Angeles Lakers (1977–1979)
Utah Jazz (1979–1986)
Detroit Pistons (1986–1989)
Dallas Mavericks (1989–1990)
Milwaukee Bucks (1991) 6,832 8,351 .818
11 Abdul-Jabbar, KareemKareem Abdul-Jabbar*[4] C Milwaukee Bucks (1969–1975)
Los Angeles Lakers (1975–1989) 6,712 9,304 .721
Schayes, DolphDolph Schayes* PF Syracuse Nationals/Philadelphia 76ers (1949–1964) 7,904 .849
13 Iverson, AllenAllen Iverson* SG/PG Philadelphia 76ers (1996–2006, 2009–2010)
Denver Nuggets (2006–2008)
Detroit Pistons (2008–2009)
Memphis Grizzlies (2009) 6,375 8,168 .780
14 Barkley, CharlesCharles Barkley* PF Philadelphia 76ers (1984–1992)
Phoenix Suns (1992–1996)
Houston Rockets (1996–2000) 6,349 8,643 .735
15 Miller, ReggieReggie Miller* SG Indiana Pacers (1987–2005) 6,237 7,026 .888
16 Pettit, BobBob Pettit* PF Milwaukee/St. Louis Hawks (1954–1965) 6,182 8,119 .761
17 Chamberlain, WiltWilt Chamberlain* C Philadelphia/San Francisco Warriors (1959–1965)
Philadelphia 76ers (1965–1968)
Los Angeles Lakers (1968–1973) 6,057 11,862 .511
18 Robinson, DavidDavid Robinson* C San Antonio Spurs (1989–2003) 6,035 8,201 .736
19 Wilkins, DominiqueDominique Wilkins* SF Atlanta Hawks (1982–1994)
Los Angeles Clippers (1994)
Boston Celtics (1994–1995)
San Antonio Spurs (1996–1997)
Orlando Magic (1999) 6,031 7,438 .811
20 O'Neal, ShaquilleShaquille O'Neal* C Orlando Magic (1992–1996)
Los Angeles Lakers (1996–2004)
Miami Heat (2004–2008)
Phoenix Suns (2008–2009)
Cleveland Cavaliers (2009–2010)
Boston Celtics (2010–2011) 5,935 11,252 .527
21 Anthony, CarmeloCarmelo Anthony^ SF Denver Nuggets (2003–2011)
New York Knicks (2011–2017)
Oklahoma City Thunder (2017–present) 5,900 7,268 .812
22 Duncan, TimTim Duncan† PF/C San Antonio Spurs (1997–2016) 5,896 8,468 .696
23 Baylor, ElginElgin Baylor* SF Minneapolis/Los Angeles Lakers (1958–1971) 5,763 7,391 .780
24 Wade, DwyaneDwyane Wade^ SG Miami Heat (2003–2016, 2018–present)
Chicago Bulls (2016–2017)
Cleveland Cavaliers (2017–2018) 5,543 7,230 .767
25 Olajuwon, HakeemHakeem Olajuwon*[5] C Houston Rockets (1984–2001)
Toronto Raptors (2001–2002) 5,423 7,621 .712
26 Wilkens, LennyLenny Wilkens* PG St. Louis Hawks (1960–1968)
Seattle SuperSonics (1968–1972)
Cleveland Cavaliers (1972–1974)
Portland Trail Blazers (1974–1975) 5,394 6,973 .774
27 Ewing, PatrickPatrick Ewing* C New York Knicks (1985–2000)
Seattle SuperSonics (2000–2001)
Orlando Magic (2001–2002) 5,392 7,289 .740
28 Havlicek, JohnJohn Havlicek* SF Boston Celtics (1962–1978) 5,369 6,589 .815
29 Hayes, ElvinElvin Hayes* PF San Diego/Houston Rockets (1968–1972)
Baltimore/Capital/Washington Bullets (1972–1981)
Houston Rockets (1981–1984) 5,356 7,999 .670
30 Durant, KevinKevin Durant^ SF/SG Seattle SuperSonics/Oklahoma City Thunder (2007–2016)
Golden State Warriors (2016–present) 5,294 6,000 .882
31 Bellamy, WaltWalt Bellamy* C Chicago Packers/Zephyrs//Baltimore Bullets (1961–1965)
New York Knicks (1965–1968)
Detroit Pistons (1968–1970)
Atlanta Hawks (1970–1974)
New Orleans Jazz (1974) 5,113 8,088 .632
32 Walker, ChetChet Walker* SF Syracuse Nationals/Philadelphia 76ers (1962–1969)
Chicago Bulls (1969–1975) 5,079 6,384 .796
33 Chambers, TomTom Chambers PF San Diego Clippers (1981–1983)
Seattle SuperSonics (1983–1988)
Phoenix Suns (1988–1993)
Utah Jazz (1993–1995)
Charlotte Hornets (1997)
Philadelphia 76ers (1997) 5,066 6,274 .807
34 Arizin, PaulPaul Arizin* SF Philadelphia Warriors (1950–1962) 5,010 6,189 .810
35 Howard, DwightDwight Howard^ C Orlando Magic (2004–2012)
Los Angeles Lakers (2012–2013)
Houston Rockets (2013–2016)
Atlanta Hawks (2016–2017)
Charlotte Hornets (2017–present) 5,005 8,837 .566
36 Johnson, MagicMagic Johnson* PG Los Angeles Lakers (1979–1991, 1996) 4,960 5,850 .848
37 Garnett, KevinKevin Garnett† PF Minnesota Timberwolves (1995–2007, 2015–2016)
Boston Celtics (2007–2013)
Brooklyn Nets (2013–2015) 4,887 6,190 .789
38 Harden, JamesJames Harden^ SG Oklahoma City Thunder (2009–2012)
Houston Rockets (2012–present) 4,850 5,678 .854
39 Stockton, JohnJohn Stockton* PG Utah Jazz (1984–2003) 4,788 5,796 .826
40 Carter, VinceVince Carter^ SG/SF Toronto Raptors (1999–2004)
New Jersey Nets (2004–2009)
Orlando Magic (2009–2010)
Phoenix Suns (2010–2011)
Dallas Mavericks (2011–2014)
Memphis Grizzlies (2014–2017)
Sacramento Kings (2017–present) 4,782 5,987 .799
41 Howell, BaileyBailey Howell* SF Detroit Pistons (1959–1964)
Baltimore Bullets (1964–1966)
Boston Celtics (1966–1970)
Philadelphia 76ers (1970–1971) 4,740 6,224 .762
42 Gasol, PauPau Gasol^ C/PF Memphis Grizzlies (2001–2008)
Los Angeles Lakers (2008–2014)
Chicago Bulls (2014–2016)
San Antonio Spurs (2016–present) 4,727 6,271 .754
43 Free, World B.World B. Free[6] PG Philadelphia 76ers (1975–1978, 1987)
San Diego Clippers (1978–1980)
Golden State Warriors (1980–1982)
Cleveland Cavaliers (1982–1986)
Houston Rockets (1987–1988) 4,718 6,264 .753
44 Drexler, ClydeClyde Drexler* SG Portland Trail Blazers (1983–1995)
Houston Rockets (1995–1998) 4,698 5,962 .788
45 Archibald, NateNate Archibald* PG Cincinnati Royals/Kansas City(-Omaha) Kings (1970–1976)
New York Nets (1976–1977)
Boston Celtics (1978–1983)
Milwaukee Bucks (1983–1984) 4,664 5,760 .810
46 Theus, ReggieReggie Theus SG Chicago Bulls (1978–1984)
Kansas City/Sacramento Kings (1984–1988)
Atlanta Hawks (1988–1989)
Orlando Magic (1989–1990)
New Jersey Nets (1990–1991) 4,663 5,644 .826
47 Stackhouse, JerryJerry Stackhouse SG Philadelphia 76ers (1995–1997)
Detroit Pistons (1997–2002)
Washington Wizards (2002–2004)
Dallas Mavericks (2004–2009)
Milwaukee Bucks (2010)
Miami Heat (2010)
Atlanta Hawks (2011–2012)
Brooklyn Nets (2012–2013) 4,649 5,659 .822
48 Cousy, BobBob Cousy* PG Boston Celtics (1950–1963)
Cincinnati Royals (1970) 4,624 5,756 .803
49 Maggette, CoreyCorey Maggette SF Orlando Magic (1999–2000)
Los Angeles Clippers (2000–2008)
Golden State Warriors (2008–2010)
Milwaukee Bucks (2010–2011)
Charlotte Bobcats (2011–2012)
Detroit Pistons (2012) 4,605 5,599 .822
50 Greer, HalHal Greer* SG Syracuse Nationals/Philadelphia 76ers (1958–1973) 4,578 5,717 .801
Progressive List of Career Free Throw Leaders[edit]
This is a progressive list of free throw scoring leaders showing how the record has increased through the years.
Statistics accurate as of the conclusion of the 2017–18 NBA season on April 11, 2018.
^ Active NBA player
* Inducted into the Naismith Memorial Basketball Hall of Fame
† Not yet eligible for Hall of Fame consideration[2]
Team Abbreviations
Team listed is the one player was on when he established the record.
BOS Boston Celtics HOU Houston Rockets NOJ New Orleans Jazz SAC Sacramento Kings
BUF Buffalo Braves IND Indiana Pacers NOP New Orleans Pelicans SDC San Diego Clippers
CHI Chicago Bulls KCO Kansas City-Omaha Kings OKC Oklahoma City Thunder SFW San Francisco Warriors
CIN Cincinnati Royals LAC Los Angeles Clippers PHI Philadelphia 76ers STL St. Louis Hawks
CLE Cleveland Cavaliers LAL Los Angeles Lakers PHO Phoenix Suns SYR Syracuse Nationals
DAL Dallas Mavericks MIA Miami Heat PHW Philadelphia Warriors TOR Toronto Raptors
DEN Denver Nuggets MIL Milwaukee Bucks POR Portland Trail Blazers UTA Utah Jazz
DET Detroit Pistons MNL Minneapolis Lakers SAS San Antonio Spurs WSB Washington Bullets
Free Throw Leader at the end of every season
Season
Year-by-Year
FT
Active Player
FT
Career Record
FT
Single Season Record
FT
Season
1946–47 Joe Fulks*000PHW 439 Joe Fulks*000PHW 439 Joe Fulks*000PHW 439 Joe Fulks*000PHW 439 1946–47
1947–48 297 736 736 1947–48
1948–49 George Mikan*000MNL 532 1,238 1,238 George Mikan*000MNL 532 1948–49
1949–50 567 1,531 1,531 567 1949–50
1950–51 576 1,909 1,909 576 1950–51
1951–52 Paul Arizin*000PHW 578 2,159 2,159 Paul Arizin*000PHW 578 1951–52
1952–53 Neil Johnston*000PHW 556 George Mikan*000MNL 2,550 George Mikan*000MNL 2,550 1952–53
1953–54 577 2,974 2,974 1953–54
1954–55 589 Ed Macauley*000BOS 2,703 Neil Johnston*000PHW 589 1954–55
1955–56 Bob Pettit*000STL 557 Dolph Schayes*000SYR 3,206 Dolph Schayes*000SYR 3,206 1955–56
1956–57 Dolph Schayes*000SYR 625 3,831 3,831 Dolph Schayes*000SYR 625 1956–57
1957–58 George Yardley*000DET 655 4,460 4,460 George Yardley*000DET 655 1957–58
1958–59 Bob Pettit*000STL 667 4,986 4,986 Bob Pettit*000STL 667 1958–59
1959–60 Jack Twyman*000CIN 598 5,519 5,519 1959–60
1960–61 Dolph Schayes*000SYR 680 6,199 6,199 Dolph Schayes*000SYR 680 1960–61
1961–62 Wilt Chamberlain*000PHW 835 6,485 6,485 Wilt Chamberlain*000PHW 835 1961–62
1962–63 Bob Pettit*000STL 685 6,666 6,666 1962–63
1963–64 Oscar Robertson*000CIN 800 6,712 6,712 1963–64
1964–65 665 Bob Pettit*000STL 6,182 1964–65
1965–66 Jerry West*000LAL 840 Oscar Robertson*
000CIN 1965–70
000MIL 1970–74 4,174 Jerry West*000LAL 840 1965–66
1966–67 Rick Barry*000SFW 753 4,910 1966–67
1967–68 Oscar Robertson*000CIN 576 5,486 1967–68
1968–69 643 6,129 1968–69
1969–70 Jerry West*000LAL 647 6,583 1969–70
1970–71 Dave Bing*000DET 615 6,968 Oscar Robertson*000MIL 6,968 1970–71
1971–72 Tiny Archibald*0CIN
000KCO 1972–73 677 7,244 7,244 1971–72
1972–73 663 7,482 7,482 1972–73
1973–74 Gail Goodrich*000LAL 508 7,694 7,694 1973–74
1974–75 Tiny Archibald*000KCO 652 Lenny Wilkens*000POR 5,394 1974–75
1975–76 Bob McAdoo*000BUF 559 John Havlicek*000BOS 4,904 1975–76
1976–77 Pete Maravich*000NOJ 501 5,139 1976–77
1977–78 Adrian Dantley*000LAL 541 5,369 1977–78
1978–79 World B. Free000SDC 654 Gail Goodrich*000NOJ 4,319 1978–79
1979–80 572 Elvin Hayes*
000WSB 1979–81
000HOU 1981–83 4,523 1979–80
1980–81 Adrian Dantley*000UTA 632 4,794 1980–81
1981–82 648 5,074 1981–82
1982–83 Moses Malone*000PHI 600 5,270 1982–83
1983–84 Adrian Dantley*000UTA 813 Kareem Abdul-Jabbar*000LAL 5,515 1983–84
1984–85 Moses Malone*000PHI 737 5,804 1984–85
1985–86 Adrian Dantley*000UTA 630 6,140 1985–86
1986–87 Michael Jordan*000CHI 833 6,385 1986–87
1987–88 723 Moses Malone*
000WSB 1987–88
000ATL 1988–91
000MIL 1991–93
000PHI 1993–94
000SAS 1994–95 6,636 1987–88
1988–89 Karl Malone*000UTA 703 7,197 1988–89
1989–90 696 7,690 1989–90
1990–91 684 7,999 Moses Malone*
000ATL 1990–91
000MIL 1991–93
000PHI 1993–94
000SAS 1994–95 7,999 1990–91
1991–92 673 8,395 8,395 1991–92
1992–93 619 8,419 8,419 1992–93
1993–94 David Robinson*000SAS 693 8,509 8,509 1993–94
1994–95 656 8,531 8,531 1994–95
1995–96 626 Karl Malone*
000UTA 1995–2003
000LAL 2003–04 5,984 1995–96
1996–97 Karl Malone*000UTA 521 6,505 1996–97
1997–98 628 7,133 1997–98
1998–99 378 7,511 1998–99
1999–00 Jerry Stackhouse000DET 618 8,100 1999–00
2000–01 666 8,636 Karl Malone*
000UTA 2000–2003
000LAL 2003–04 8,636 2000–01
2001–02 Tim Duncan†000SAS 560 9,145 9,145 2001–02
2002–03 Paul Pierce†000BOS 604 9,619 9,619 2002–03
2003–04 Corey Maggette000LAC 526 9,787 9,787 2003–04
2004–05 Allen Iverson*000PHI 656 Reggie Miller*000IND 6,237 2004–05
2005–06 Kobe Bryant†000LAL 696 Shaquille O'Neal*000MIA 5,147 2005–06
2006–07 667 Allen Iverson*
000PHI 2006
000DEN 2006–08
000DET 2008–09 5,355 2006–07
2007–08 Allen Iverson*00DEN 645 6,000 2007–08
2008–09 LeBron James^000CLE 594 6,271 2008–09
2009–10 Kevin Durant^000OKC 756 Kobe Bryant†000LAL 6,543 2009–10
2010–11
Kevin Durant^00OKC
Kevin Martin†00HOU
594 7,026 2010–11
2011–12 Kevin Durant^000OKC 431 7,407 2011–12
2012–13 679 7,932 2012–13
2013–14 703 7,950 2013–14
2014–15 James Harden^000HOU 715 8,146 2014–15
2015–16 720 8,378 2015–16
2016–17 746 Dirk Nowitzki^000DAL 7,104 2016–17
2017-18 624 7,201 Jerry West* 53 years 840 2017-18
Season
Year-by-Year
FT
Active Player
FT
Career Record
FT
Single Season Record
FT
Season
References[edit]
Jump up ^ "NBA Progressive Leaders and Records for Free Throws". Basketball-Reference.com. Sports-Reference. Retrieved 4 April 2015.
^ Jump up to: a b A player is not eligible for induction into the Naismith Memorial Basketball Hall of Fame until he has been fully retired for three calendar years.
Jump up ^ American Basketball Association (ABA) teams other than those admitted into the NBA in 1976 are not included; each year is linked to an article about that particular NBA season.
Jump up ^ Known as Lew Alcindor prior to May 1, 1971.
Jump up ^ Previously written as Akeem Olajuwon prior to official spelling change March 9, 1991.
Jump up ^ Known as Lloyd Free prior to December 8, 1981.
External links[edit]
Basketball-Reference.com enumeration of NBA career leaders in free throws made
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