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Norman Bates
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For the Medal of Honor recipient, see Norman F. Bates.
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Norman Bates
Psycho character
Anthony Perkins as Norman Bates in Psycho (1960).
First appearance
Psycho (1959)
Created by
Robert Bloch
Portrayed by
Anthony Perkins (Psycho (1960) – Psycho IV: The Beginning)
Oz Perkins (Psycho II, flashback)
Kurt Paul (Bates Motel)
Henry Thomas and Ryan Finnigan (Psycho IV: The Beginning, flashbacks)
Vince Vaughn (Psycho (1998))
Freddie Highmore (Bates Motel)
Beckham Skodje, Luke Roessler and Nicholas Holmes (Bates Motel, flashbacks)
Information
Gender
Male
Occupation
Former owner of the Bates Motel
Family
Norma Bates (deceased mother)
John/Sam Bates (deceased father)
Robert Newman (twin brother; Bloch's novels only)
Dylan Massett (half-brother/cousin; Bates Motel only)
Emma Spool (deceased maternal aunt; film canon only)
Caleb Calhoun (deceased maternal uncle; Bates Motel only)
Kate Massett (niece; Bates Motel only)
Ray Calhoun (deceased grandfather; Bates Motel only)
Francine Calhoun (deceased grandmother; Bates Motel only)
Spouse(s)
Dr. Constance "Connle" Forbes-Bates (wife; film canon only)
Relatives
Alex Romero (deceased stepfather; Bates Motel only)
Emma Decody (sister-in-law; Bates Motel only)
Norman Bates is a fictional character created by Robert Bloch as the main antagonist in his 1959 novel Psycho; portrayed by Anthony Perkins in the 1960 version of Psycho directed by Alfred Hitchcock and the Psycho franchise. He is also portrayed by Vince Vaughn in the 1998 version of Psycho, and by Freddie Highmore in the television series Bates Motel (2013 - 2017).[1] Unlike the franchise produced by Universal Studios, Norman is not the principal antagonist in Bloch's subsequent novels and is succeeded by copycat killers who assume Norman's identity after his death in 1982's Psycho II. Despite wide-ranging assumptions, the character was not inspired by Wisconsin murderer Ed Gein. Bloch later revealed that he was nearly finished writing Psycho when he first became aware of Gein, and was struck by "how closely the imaginary character I'd created resembled the real Ed Gein both in overt act and apparent motivation."[2]
Contents
[hide]
1 Character overview
2 Psycho (novel and film)
3 Novel sequels
3.1 Psycho II
3.2 Psycho House
3.3 Psycho: Sanitarium
4 Film sequels
4.1 Psycho II
4.2 Psycho III
4.3 Psycho IV: The Beginning
5 Television
5.1 Bates Motel (film)
5.2 Bates Motel (TV series)
6 Characterization
7 Portrayals
8 Comic books
9 Reception
10 Appearances
10.1 Novels
10.2 Films
10.3 Television
10.4 Comics
11 See also
12 References
13 External links
Character overview[edit]
The 1959 novel, its 1960 film adaptation and the 1990 film prequel explain that Norman suffered severe emotional abuse as a child at the hands of his mother, Norma, who preached to him that sexual intercourse was sinful and that all women (except herself) were whores. The novel also suggests that their relationship may have been incestuous.
After Norman's father died, Norman and his mother lived alone together "as if there was no one else in the world" until Norman reached adolescence, when his mother met Joe Considine (Chet Rudolph in Psycho IV: The Beginning) and planned to marry. Considine convinced Norma to open a motel. Driven over the edge with jealousy, Norman murdered both of them with strychnine. After committing the murders, Norman staged it like murder-suicide, making it look as if Norma had killed her fiancé and then herself. After a brief hospitalization for shock, he developed dissociative identity disorder, assuming his mother's personality to repress his awareness of her death and to escape the feelings of guilt for murdering her.[3] He inherited his mother's house—where he kept her corpse in the fruit cellar—and the family motel in the (fictional) small town of Fairvale, California.
Bloch sums up Norman's multiple personalities in his stylistic form of puns: "Norman", a child dependent on his mother; "Norma", a possessive mother who kills anyone who threatens the illusion of her existence; and "Normal", a functional adult who goes through the motions of day-to-day life. "Norma" dominates and belittles "Norman" much as she had when she was alive, forbidding him to have friends and flying into violent rages whenever he feels attracted to a woman. "Norma" and "Norman" carry on conversations through Norman talking to himself and to her corpse in his mother's voice, and Norman dresses in his mother's clothes whenever "Norma" takes hold completely.[4]
Psycho (novel and film)[edit]
In Bloch's 1959 novel and the 1960 Hitchcock film, Marion Crane (Janet Leigh), a young woman on the run after stealing money from her employer, checks into the motel one night. Norman is smitten with her, and shyly asks her to have dinner with him in the house. "Mother" flies into a rage and threatens to kill Marion if Norman lets her in the house. Norman defies her and eats dinner with Marion anyway, but lashes out at her when she suggests that he institutionalize his mother. When Marion goes to her room to shower, Norman spies on her through a peephole he drilled in the wall. "Mother" takes control and stabs Marion to death (she beheads her in the novel). When Norman awakes to discover what he believes his mother has done, he sinks Marion's car—with her corpse and the money in the trunk—into a nearby swamp. As "Mother", he also murders Milton Arbogast (Martin Balsam), a private detective hired by Marion's employer, days later.
Norman is finally caught when Marion's sister Lila (Vera Miles) and boyfriend, Sam Loomis (John Gavin), arrive at the motel looking for her. When Norman figures out what they want, he knocks Sam out and goes running after Lila, who has reached the house and found Mrs. Bates' corpse. He attacks her as "Mother", but Sam, after awakening from having been knocked out, overpowers him, and Norman is finally arrested. Norman is declared insane and sent to an institution, where "Mother" takes complete, and permanent, control of his mind: he becomes his mother.[4]
Novel sequels[edit]
Psycho II[edit]
In Bloch's 1982 sequel to his first novel, Psycho II, Norman escapes from the psychiatric hospital by killing a nun and donning her habit. Picked up as a hitchhiker, Norman tries to attack the driver with a tire iron, but the driver overpowers him. This in turn causes a fiery accident where the driver escapes, but Norman dies. Meanwhile, Norman's past crimes is being adapted into a movie directed by Vizzini, who is the spitting image of Noman Bates from twenty years ago. Vizzini's mother was raped and murdered when he was a child and the truama from it affected his sexual morality. He plans to rape and murder the actress playing Marion Crane, but is killed by an unknown assailant.[citation needed] Dr. Adam Claiborne, who discovered Norman's corpse, assumed his personality and killed Vizzini and others.[5]
Psycho House[edit]
In Bloch's 1990 sequel to his second novel, Psycho House, Norman appears only as a novelty animatronic on display in the Bates Motel, which has been converted into a tourist attraction.
Psycho: Sanitarium[edit]
In Bloch's 2016 prequel to his second novel, Psycho: Sanitarium, Dr. Felix Reed tries to bring Norman out of a catatonic state. Sanitarium introduces Robert Newman, Norman's twin brother who was taken away at birth after the attending doctor pronounced him brain damaged. As Robert and Norman grow to know each other, Norman senses a darkness in Robert, even deeper than that which has lurked in Norman himself.
Film sequels[edit]
Psycho II[edit]
In 1983's Psycho II, the first sequel to the original film, Norman is released from the institution twenty-two years after his arrest, seemingly cured. He meets Mary Loomis (Meg Tilly)—Marion Crane's niece—and falls in love with her. However, a series of mysterious murders occurs, as well as strange appearances and messages from his mother, and Norman slowly loses his grip on sanity. The mysterious appearances and messages turn out to be a plot by Mary's mother, Lila Loomis, to drive him insane again in order to get him recommitted. The actual murders turn out to be the work of Norman's coworker, Emma Spool (Claudia Bryar). Before Norman discovers this, however, Mary Loomis is shot dead by the police during a confrontation with Norman, and Mrs. Spool murders Lila. When Spool tells Norman that she is his real mother, he kills her and embalms her corpse while assuming the "Mother" personality once again.[6]
Psycho III[edit]
In 1986's Psycho III, set a month later, Norman continues to struggle, unsuccessfully, against "Mother"'s dominion. He also finds another love interest named Maureen Coyle (Diana Scarwid), who eventually dies at "Mother"'s hand. In the film, Mrs. Spool's corpse is first discovered by sleazy musician Duane Duke (Jeff Fahey), whom Norman kills when Duke tries to use the discovery to blackmail Norman. Tracy Venable (Roberta Maxwell), a reporter interested in Norman's case, finds out that Spool was in fact Norman's aunt - Norma Bates' sister - who was obsessed with Norman's father and killed him when he chose Norma over her. She then kidnapped the infant Norman, believing him to be her child, but she was arrested and institutionalized, leaving Norman to be raised by Norma.
"Mother" orders Norman to kill Tracy, but in the end he destroys Spool's corpse, attempting to break free of her control. He is then arrested and put back in the institution.[7]
Psycho IV: The Beginning[edit]
Psycho IV: The Beginning (1990), the final film in the series, retcons the revelations of the second and third film, supplying that Norman's father was stung to death by bees and removing all references to Emma Spool. In this film, Norman has been released from an institution, and is married to one of the hospital's psychologists, a woman named Connie (Donna Mitchell). When his wife becomes pregnant, he lures her to his mother's house and tries to kill her, wanting to prevent another of his "cursed" line from being born into the world; the film implies that Mrs. Bates (Olivia Hussey) suffered from schizophrenia and borderline personality disorder and passed the illnesses on to her son. However, he relents at the last minute, when Connie professes her love for him. He then burns the house down in an attempt to free himself of his past. During the attempt, he is tormented by hallucinations of "Mother" and several of his victims. He almost dies in the flames before willing himself to get out, apparently defeating his illness at long last; he is finally free of his mother's voice, which demands to be let out. This was Anthony Perkins' final performance as Norman Bates; Henry Thomas portrayed Norman as a teenager.[8]
Television[edit]
Bates Motel (film)[edit]
In the 1987 television spin-off movie and series pilot Bates Motel, Norman is never released from the institution after his first incarceration. He befriends Alex West (Bud Cort), a fellow inmate who had murdered his stepfather, and wills ownership of the titular motel to him before dying of old age.[9]
Bates Motel (TV series)[edit]
The TV series Bates Motel, a contemporary prequel to the 1960 film Psycho, set in the present day, depicts the young Norman Bates' life with his mother, Norma (Vera Farmiga). However the final season loosely adapts the plot of Psycho. In this continuity, Norman suffers from hallucinations and blackouts, and begins manifesting his "Mother" personality while Norma is alive. He kills his abusive father, Sam (David Cubitt), while in a dissociative state, and Norma moves them from Arizona, where he was born and raised, to White Pine Bay, Oregon, to protect him.[10] The series also introduces his maternal half-brother, Dylan Massett (Max Thieriot) and gives him a love interest in Emma Decody (Olivia Cooke), a classmate with cystic fibrosis.
As "Mother", Norman murders Blaire Watson (Keegan Connor Tracy), one of his teachers who seduces him;[11] Bradley Martin (Nicola Peltz), a girl he has feelings for;[12] and Audrey Ellis Decody (Karina Logue), Emma's estranged mother.[13] Fearing for his sanity, Norma briefly has him committed to a mental institution.[14] While there, Norman recovers a memory of witnessing his father rape Norma; it is implied that this trauma fractured his psyche.[15]
When Norman's sanity begins to deteriorate, Norma marries the town sheriff, Alex Romero (Nestor Carbonell), so she can use his insurance coverage to pay for Norman to be treated in a mental institution. While the marriage is at first merely a financial arrangement, they eventually fall in love. After Norman is released from the institution and finds out that Norma is married, he grows insanely jealous and tries to kill both Norma and himself by flooding the house with carbon monoxide while his mother sleeps. Romero arrives at the house in time to revive Norman, but finds that Norma is already dead.[16] Romero figures out what happened and swears revenge, but is arrested for perjury before he can do anything. Meanwhile, Norman cannot bear losing his mother, so he digs up her corpse and assumes her personality to preserve the illusion of her being alive.[17]
Two years later, Norman is running the motel and living alone in the house with Norma's corpse, which he keeps frozen and preserved in the cellar. He and his "Mother" personality live together as if there is no one else in the world, and she takes care of his problems - such as killing and disposing of a hitman sent by Romero[18] and helping him get rid of his uncle, Norma's brother Caleb (Kenny Johnson), after he discovers the truth.[19] When Norman falls for Madeline Loomis (Isabelle McNally), a lonely woman who bares an uncanny resemblance to Norma, and whose husband Sam (Austin Nichols) is cheating on her, "Mother" becomes jealous and starts behaving erratically, at one point taking possession of Norman's mind and making him have sex with a man at a gay bar while dressed in Norma's clothes.[20] Norman finally begins to suspect that "Mother" is not real, and she confirms that he created her in his mind to deal with things that he could not, such as his abusive father.[21]
When Sam's mistress Marion Crane (Rihanna) checks into the motel, Norman has dinner with her and tells her that Sam is married. Marion comes back to the motel after confirming Sam's infidelity, and seeks comfort from Norman. He fears that "Mother" will kill her, however, and tells her to leave and never come back. When Sam comes to the motel to look for Marion, Norman stabs him to death in the shower.[21]
Dylan comes to see Norman after learning of Norma's death, and they get into a fight that ends with Norman assaulting his half-brother at "Mother"'s instigation. Terrified of what he might do, Norman calls 9-11 and confesses to murdering Sam.[22] While he is in jail, Sheriff Jane Greene (Brooke Smith) finds the bodies of Norman's other victims, and charges him with their murders, as well.[23] While Norman is awaiting trial, Romero - who had earlier escaped from prison - breaks into his cell and takes him hostage.[24] They drive to the woods where Norman hid Norma's corpse after the police began searching his house. There, Norman gets the better of Romero and shoots him dead, but not before his former stepfather tells him he will never escape from murdering his own mother. When Norman finally admits to himself that he killed Norma, "Mother" appears to him and tells him she is leaving, as there is no longer anything she can protect him from.[25]
Now completely alone, Norman loses all contact with reality. He calls Dylan and invites him over for a "family dinner", complete with Norma's corpse seated at the head of the table. When Dylan tells him that Norma is dead, Norman flies into a rage and attacks him with a knife, forcing Dylan to shoot him in self-defense. As he dies, Norman sees a vision of his mother embracing him.[25]
Characterization[edit]
The character Norman Bates in Psycho was loosely based on two people. First was the real-life murderer Ed Gein, about whom Bloch later wrote a fictionalized account,[26] "The Shambles of Ed Gein", in 1962. (The story can be found in Crimes and Punishments: The Lost Bloch, Volume 3). Second, it has been indicated by several people, including Noel Carter (wife of Lin Carter) and Chris Steinbrunner, as well as allegedly by Bloch himself, that Norman Bates was partly based on Calvin Beck, publisher of Castle of Frankenstein.[26]
The characterization of Norman Bates in the novel and the movie differ in some key areas. In the novel, Norman is in his mid-to-late 40s, short, overweight and homely. In the movie, he is in his mid-20s, tall, slender, and handsome. Reportedly, when working on the film, Hitchcock decided that he wanted audiences to be able to sympathize with Norman and genuinely like the character, so he made him more of a "boy next door".[27] In the novel, Norman becomes "Mother" after getting drunk and passing out; in the movie, he remains sober before switching personalities.
In the novel, Norman is well-read in occult and esoteric authors such as P.D. Ouspensky and Aleister Crowley. He is aware that "Mother" disapproves of these authors as being against religion.
Portrayals[edit]
Norman Bates was portrayed by Anthony Perkins in Hitchcock's seminal 1960 film adaptation of Bloch's novel and its three sequels.[28] Perkins hosted an episode of Saturday Night Live in 1976 in which he performed numerous sketches portraying Norman, including the instructional video "The Norman Bates School of Motel Management". He also portrayed Norman, albeit more lightheartedly, in a 1990 commercial for Oatmeal Crisp cereal. Vince Vaughn portrayed Norman in Gus Van Sant's 1998 version of Psycho, while Kurt Paul, Perkins' "Mother" stunt double in Psycho II and Psycho III, took on the role in the made-for-TV film spin-off Bates Motel. Perkins' son Oz portrayed a younger version of Norman in Psycho II. Henry Thomas played a younger version of the character in Psycho IV: The Beginning. Freddie Highmore portrayed Norman in the TV series Bates Motel. For his performance, Highmore was nominated twice for a Critic's Choice Award, a Saturn Award, and won a People's Choice Award in 2017.[29]
Comic books[edit]
Norman appears in the 1992 three-issue comic book adaptation of the 1960 film Psycho released by Innovation Publishing. Despite being a colorized adaptation of the Hitchcock film, the version of Norman present in the comics resembles the one from Bloch's original novel: a middle-aged, overweight, balding man. Comic artist Felipe Echevarria has explained that this was due to Perkins' refusal to allow his likeness to be replicated for the books, wanting to disassociate himself with Norman Bates.[30]
Reception[edit]
Norman Bates is ranked as the second-greatest villain on the American Film Institute's list of the top 100 film heroes and villains,[31] behind Hannibal Lecter and before Darth Vader. His line "A boy's best friend is his mother" also ranks as number 56 on the institute's list of the 100 greatest movie quotes.[32] In 2008, Norman Bates was selected by Empire Magazine as one of The 100 Greatest Movie Characters.[33] Bates also ranked number 4 on Premiere magazine's list of The 100 Greatest Movie Characters of All Time.[34]
Appearances[edit]
Novels[edit]
Psycho (1959)
Psycho II (1982)
Psycho House (1990, as an animatronic)
Psycho: Sanitarium (2016)
Films[edit]
Psycho (1960)
Psycho II (1983)
Psycho III (1986)
Bates Motel (1987)
Psycho IV: The Beginning (1990)
Psycho (1998)
Television[edit]
Bates Motel (2013–2017)
Comics[edit]
Alfred Hitchcock's Psycho (1992)
See also[edit]
List of horror film antagonists
References[edit]
Jump up ^ Cruz, Gilbert (March 25, 2013). "We All Go a Little Mad Sometimes: On Norman Bates and Psycho's Four Sequels". Vulture.com. New York City: New York Media. Retrieved August 9, 2017.
Jump up ^ Guran, Paula (August 1999). "BEHIND THE BATES MOTEL: Robert Bloch". Dark Echo Horror Online. Retrieved April 6, 2018.
Jump up ^ Breslow, Peter (July 1, 2008). "Norman Bates: A Most Terrifying Mama's Boy". NPR.org. Retrieved October 26, 2017.
^ Jump up to: a b Bloch, Robert (1959). Psycho. New York City: Simon & Schuster. ISBN 978-1590203354.
Jump up ^ Bloch, Robert (1982). Psycho II. Venice, California: Whisper Press. ISBN 0-918372-08-9.
Jump up ^ Richard Franklin (Director) (June 3, 1983). Psycho II (DVD). United States: Universal Pictures.
Jump up ^ Anthony Perkins (Director) (July 2, 1986). Psycho III (DVD). United States: Universal Pictures.
Jump up ^ Mick Garris (Director) (November 10, 1990). Psycho IV: The Beginning (DVD). United States: Universal Television.
Jump up ^ Richard Rothstein (Director) (July 5, 1987). Bates Motel (DVD). United States: Universal Television]
Jump up ^ "The Truth". Bates Motel (TV series). Season 1. Episode 6. April 22, 2013. A&E.
Jump up ^ "Midnight". Bates Motel (TV series). Season 1. Episode 10. May 13, 2013. A&E.
Jump up ^ "Unconscious". Bates Motel (TV series). Season 3. Episode 10. May 13, 2015. A&E.
Jump up ^ "A Danger to Himself and Others". Bates Motel (TV series). Season 4. Episode 1. March 7, 2016. A&E.
Jump up ^ "Goodnight, Mother". Bates Motel (TV series). Season 4. Episode 2. March 14, 2016. A&E.
Jump up ^ "The Vault". Bates Motel (TV series). Season 4. Episode 6. April 18, 2016. A&E.
Jump up ^ "Forever". Bates Motel (TV series). Season 4. Episode 9. May 9, 2016. A&E.
Jump up ^ "Norman". Bates Motel (TV series). Season 4. Episode 10. May 16, 2016. A&E.
Jump up ^ "Dark Paradise". Bates Motel (TV series). Season 5. Episode 1. February 20, 2017. A&E.
Jump up ^ "Bad Blood". Bates Motel (TV series). Season 5. Episode 3. March 6, 2017. A&E.
Jump up ^ "Dreams Die First". Bates Motel (TV series). Season 5. Episode 5. March 20, 2017. A&E.
^ Jump up to: a b "Marion". Bates Motel (TV series). Season 5. Episode 6. March 27, 2017. A&E.
Jump up ^ "Inseparable". Bates Motel (TV series). Season 5. Episode 7. April 3, 2017. A&E.
Jump up ^ "The Body". Bates Motel (TV series). Season 5. Episode 8. April 3, 2017. A&E.
Jump up ^ "Visiting Hours". Bates Motel (TV series). Season 5. Episode 9. April 17, 2017. A&E.
^ Jump up to: a b "The Cord". Bates Motel (TV series). Season 5. Episode 10. April 24, 2017. A&E.
^ Jump up to: a b Conradt, Stacy (March 18, 2013). "Everything You Need to Know About Norman Bates". Mental Floss. New York City: Dennis Media. Retrieved August 9, 2017.
Jump up ^ Leigh, Janet (1995). Psycho : Behind the Scenes of the Classic Thriller. Easton, Pennsylvania: Harmony Press. ISBN 0-517-70112-X.
Jump up ^ Ferrell, David (September 13, 1992). "Anthony Perkins, 60, Dies; Star of 'Psycho' Had AIDS". Los Angeles Times. Los Angeles, California: Tronc. ISSN 0458-3035. Retrieved August 9, 2017.
Jump up ^ Swift, Andy (January 21, 2017). "People's Choice Awards 2017 Winners: Priyanka Chopra, Outlander and More". tvline.com. Retrieved March 10, 2017.
Jump up ^ Johnston, Rich (August 31, 2016). "Felipe Echevarria, On Taking Anthony Perkins Out Of The Picture". Bleeding Cool. Rantoul, Illinois: Avatar Press. Retrieved April 6, 2018.
Jump up ^ "AFI's 100 YEARS...100 HEROES & VILLAINS". afi.com. American Film Institute. Retrieved April 6, 2018.
Jump up ^ "AFI'S 100 GREATEST MOVIE QUOTES OF ALL TIME". afi.com. American Film Institute. Retrieved April 6, 2018.
Jump up ^ "The 100 Greatest Movie Characters". Empire. London, England: Bauer Consumer Media. 29 June 2015. Retrieved 6 April 2018.
Jump up ^ "100 Greatest Movie Characters of All Time". Premiere. New York City: Hachette Filipacchi Media U.S. Retrieved April 6, 2018.
External links[edit]
Norman Bates on IMDb
[show]
v
t
e
Psycho
Novels
Psycho (1959)
Psycho II (1982)
Psycho House (1990)
Psycho: Sanitarium (2016)
Films
Psycho (1960)
Psycho II (1983)
Psycho III (1986)
Psycho (1998)
Television
Films
Bates Motel (1987)
Psycho IV: The Beginning (1990)
Series
Bates Motel (2013–17)
Characters
Norman Bates
Norma Bates
Marion Crane
Lila Crane
Emma Spool
Miscellaneous
Alfred Hitchcock and the Making of Psycho
Hitchcock (2012)
Robert Bloch's Psychos
The Psycho Legacy (2010)
"The Murder"
"Motorpsycho Nitemare"
Psycho: Music from and Inspired by the Motion Picture
Psycho
[show]
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Bates Motel
Episodes
Season 1
Season 2
Season 3
Season 4
Season 5
Characters
Norma Louise Bates
Norman Bates
Marion Crane
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Estates General (France)
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This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (May 2009)
Opening of the Estates General on May 5, 1789 in the Grands Salles des Menus-Plaisirs in Versailles.
In France under the Old Regime, the Estates General (French: États généraux) or States-General was a legislative and consultative assembly (see The Estates) of the different classes (or estates) of French subjects. It had a separate assembly for each of the three estates, which were called and dismissed by the king. It had no true power in its own right—unlike the English parliament it was not required to approve royal taxation or legislation[1]—instead it functioned as an advisory body to the king, primarily by presenting petitions from the various estates and consulting on fiscal policy.[2] The Estates General met intermittently until 1614 and only once afterwards, but was not definitively dissolved until after the French Revolution.[2]
It is comparable to similar institutions across Europe, such as the States General of the Netherlands, the Parliament of England, the Estates of Parliament of Scotland, the Cortes of Spain, the Imperial Diet ("Reichstag") of the Holy Roman Empire or Germanic Empire, the Diets (German: Landtage) of the "Lands", and the Swedish Riksdag of the Estates.
Contents
[hide]
1 Origin
2 Rise and fall of power
3 Revival in 1560–1614
4 1789
5 See also
6 References
Origin[edit]
A painting depicting the three classes
In 1302, expanding French royal power led to a general assembly consisting of the chief lords, both lay and ecclesiastical, and the representatives of the principal privileged towns, which were like distinct lordships. Certain precedents paved the way for this institution: representatives of principal towns had several times been convoked by the king, and under Philip III there had been assemblies of nobles and ecclesiastics in which the two orders deliberated separately. It was the dispute between Philip the Fair and Pope Boniface VIII which led to the States-General of 1302; the king of France desired that, in addition to the Great Officers of the Crown of France, he receive the counsel from the three estates in this serious crisis. The letters summoning the assembly of 1302 are published by M. Georges Picot in his collection of Documents inédits pour servir à l'histoire de France. During the same reign they were subsequently assembled several times to give him aid by granting subsidies. Over time subsidies came to be the most frequent motive for their convocation.
In one sense, the composition and powers of the Estates General always remained the same. They always included representatives of the First Estate (clergy), Second Estate (the nobility), and Third Estate (commoners: all others), and monarchs always summoned them either to grant subsidies or to advise the Crown, to give aid and counsel. Their composition, however, as well as their effective powers, varied greatly at different times.
In their primitive form in the 14th and the first half of the 15th centuries, the Estates General had only a limited elective element. The lay lords and the ecclesiastical lords (bishops and other high clergy) who made up the Estates General were not elected by their peers, but directly chosen and summoned by the king. In the order of the clergy, however, since certain ecclesiastical bodies, e.g. abbeys and chapters of cathedrals, were also summoned to the assembly, and as these bodies, being persons in the moral but not in the physical sense, could not appear in person, their representative had to be chosen by the monks of the convent or the canons of the chapter.
It was only the representation of the Third Estate which was furnished by election. Originally, the latter was not called upon as a whole to seek representation in the estates. It was only the bonnes villes, the privileged towns, which were called upon. They were represented by elected procureurs, who were frequently the municipal officials of the town, but deputies were often elected for the purpose. The country districts, the plat pays, were not represented. Even within the bonnes villes, the franchise was quite narrow.
It was during the last thirty years of the 15th century that the Estates General became an entirely elective body and really representative of the whole nation as divided into three parts. This came about through various causes. On the one hand, the nobles and prelates who were summoned were not always inclined to attend the estates, so had themselves represented by an envoy, a procureur, as they had the right to do, and frequently the lords or prelates of the same district chose the same procureur to represent them. On the other hand, the Crown seems at that time to have felt the need of having the consent of representatives really expressing the will and feelings of all the orders, and especially of the Third Estate as a whole. The letters of summons to the Estates General of 1484 invited the ecclesiastics, nobles, and Third Estate to meet at the chief town of their bailliage or sénéchaussé and elect deputies. An intermediate form had been employed in 1468 when the prelates and lords had still been summoned personally, but the towns had each elected three deputies, an ecclesiastic, a noble and a burgess.
At the estates of 1484 there seems to have been universal and direct suffrage for all the three orders. But the roturiers of the country districts could not in practice avail themselves of this power; so the country communities and small towns spontaneously elected delegates to represent them at the electoral assembly. Thus a system of indirect election arose for the Third Estate which became confirmed and subsequently continued to be used. To a certain extent there were sometimes more than two degrees in the suffrage; the delegates nominated by the country communities would gather together with the electors chosen by the neighbouring little town, and appoint with them new delegates to represent them at the electoral assembly of the bailliage. This ultimately became the system. For the clergy and nobles, the suffrage remained direct; but as a rule only such ecclesiastics were admitted to the assembly of the bailliage as possessed a benefice, and only such lords as had a fief.
Rise and fall of power[edit]
The effective powers of the Estates General likewise varied over time. In the 14th century they were considerable. The king could not, in theory, levy general taxation. Even in the provinces attached to the domain of the Crown, he could only levy it where he had retained the haute justice over the inhabitants, but not on the subjects of lords having the haute justice. The privileged towns had generally the right of taxing themselves. To collect general taxes, the king required consent of the lay and ecclesiastical lords, and of the towns. This amounted to needing authorization from the Estates General, which only granted these subsidies temporarily for fairly short periods. As a result, they were summoned frequently and their power over the Crown became considerable.
In the second half of the 14th century, however, certain royal taxes, levied throughout the Crown's domain, tended to become permanent and independent of the vote of the estates. This sprang from many causes, but from one in particular; the Crown endeavoured by transforming and changing the nature of the "feudal aid" to levy a general tax by right, on its own authority, in such cases as those in which a lord could demand feudal aid from his vassals. For instance, it was in this way that the necessary taxes were raised for twenty years to pay the ransom of King John II of France without a vote of the Estates General, although they met several times during this period. Custom confined this tendency. Thus during the second half of the 15th century the chief taxes, the taille, aids and gabelle became definitely permanent for the benefit of the Crown, sometimes by the formal consent of the Estates General, as in 1437 in the case of the aids.
The critical periods of the Hundred Years' War favoured the Estates General, though at the price of great sacrifices. Under the reign of King John II they had controlled, from 1355 to 1358, not only the voting, but through their commissaries, the administration of and jurisdiction over the taxes. In the first half of the reign of Charles VII they had been summoned almost every year and had dutifully voted subsidies. But when the struggle was over they renounced, through weariness and a longing for peace, their most precious right, the power of the purse.
At the estates of 1484, however, after the death of Louis XI, the Duke of Orleans sought to obtain the regency during the minority of Charles VIII, but the Estates sided with Charles's sister Anne de Beaujeu and refused.[3]
Deputies of the three orders united their efforts in the hope of regaining the right of periodically sanctioning taxation. They voted the taille for two years only, at the same time reducing it to the amount it had reached at the end of the reign of Charles VII. They even demanded, and obtained, the promise of the Crown that they should be summoned again before the expiration of the two years. But the promise was not kept, and the Estates General were not summoned again until 1560. There was thus a 76-year interim, during which successive kings expanded the role of the centralised state through various means.
Revival in 1560–1614[edit]
The Estates General was revived in the second half of the 16th century because of scarcity of money and the quarrels and Wars of Religion. The estates of Orléans in 1560, followed by those of Pontoise in 1561, and those of Blois in 1576 and 1588 were most remarkable for the wisdom, courage and efforts of the deputies, but on the whole were lacking in effect. Those of 1588 ended with a regular coup d'etat effected by Henry III, and the States summoned by the League, which sat in Paris in 1593 and whose chief object was to elect a Catholic king, were not a success. The Estates General again met in Paris in 1614, on the occasion of the disturbances that followed the death of Henry IV; however, though their minutes bear witness to their sentiments of exalted patriotism, dissensions between the three orders rendered them weak. They dissolved before completing their work and were not summoned again until 1789.
As to the question whether the Estates General formed one or three chambers for the purposes of their working, from the constitutional point of view the point was never decided. What the king required was to have the consent, the resolution of the three estates of the realm; it was in reality of little importance to him whether their resolutions expressed themselves in common or separately. At the Estates General of 1484 the elections were made in common for the three orders, and the deputies also arrived at their resolutions in common. But after 1560 the rule was that each order deliberate separately; the royal declaration of 23 June 1789 (at the outbreak of the French Revolution) even stated that they formed three distinct chambers. But Necker's report to the conseil du roi according to which the convocation of 1789 was decided, said (as did the declaration of 23 June), that on matters of common interest the deputies of the three orders could deliberate together, if each of the others decided by a separate vote in favour of this, and if the king consented.
The working of the Estates General led to an almost exclusive system of deliberation by committees. There were, it is true, solemn general sessions, called séances royales, because the king presided; but at these there was no discussion. At the first, the king or his chancellor announced the object of the convocation, and set forth the demands or questions put to them by the Crown; at the other royal sessions each order made known its answers or observations by the mouth of an orateur elected for the purpose. But almost all useful work was done in the sections, among which the deputies of each order were divided. At the estates of 1484 they were divided into six nations or sections, corresponding to the six généralités then existing. Subsequently, the deputies belonging to the same gouvernement formed a group or bureau for deliberating and voting purposes. Certain questions, however, were discussed and decided in full assembly; sometimes, too, the estates nominated commissaries in equal numbers for each order. But in the ancient Estates General there was never any personal vote. The unit represented for each of the three orders was the bailliage or sénéchaussé and each bailliage had one vote, the majority of the deputies of the bailliage deciding in what way this vote should be given.
At the estates of the 16th century voting was by gouvernements, each gouvernement having one vote, but the majority of the bailliages composing the gouvernement decided how it should be given.
The Estates General, when they gave counsel, had in theory only a consultative faculty. They had the power of granting subsidies, which was the chief and ordinary cause of their convocation. But it had come to be a consent with which the king could dispense, as permanent taxation became established. In the 16th century, however, the estates again claimed that their consent was necessary for the establishment of new taxation, and, on the whole, the facts seemed to be in favour of this view at the time. However, in the course of the 17th century the principle gained recognition that the king could tax on his own sole authority. Thus were established in the second half of the 17th century, and in the 18th, the direct taxes of the capitation and of the dixième or vingtième, and many indirect taxes. It was sufficient for the law creating them to be registered by the cours des aides and the parlements. It was only in 1787 that the parlement of Paris declared that it could not register the new taxes, the land-tax and stamp duty (subvention territoriale and impôt du timbre), as they did not know whether they would be submitted to by the country, and that the consent of the representatives of the tax-payers must be asked.
The Estates General had legally no share in the legislative power, which belonged to the king alone. The Estates of Blois demanded in 1576 that the king be bound to turn into law any proposition voted in identical terms by each of the three orders; but Henry III would not grant this demand, which would not even have left him a right of veto. In practice, however, the Estates General contributed largely to legislation. Those who sat in them had at all times the right of presenting complaints (doléances), requests and petitions to the king; in this, indeed, consisted their sole initiative. They were usually answered by an ordonnance, and it is chiefly through these that we are acquainted with the activity of the estates of the 14th and 15th centuries.
In the latest form, and from the estates of 1484 onwards, this was done by a new and special procedure. The Estates had become an entirely elective assembly, and at the elections (at each step of the election if there were several) the electors drew up a cahier de doléances (statement of grievances), which they requested the deputies to present. This even appeared to be the most important feature of an election. The deputies of each order in every bailliage also brought with them a cahier des doléances, arrived at, for the third estate, by a combination of statements drawn up by the primary or secondary electors. On the assembly of the estates the cahiers of the bailliages were incorporated into a cahier for each gouvernement, and these again into a cahier general or general statement, which was presented to the king, and which he answered in his council. When the three orders deliberated in common, as in 1484, there was only one cahier général; when they deliberated separately, there were three, one for each order. The drawing up of the cahier general was looked upon as the main business (le grand cause) of the session.
By this means the Estates General furnished the material for numerous ordonnances, though the king did not always adopt the propositions contained in the cahiers, and often modified them in forming them into an ordonnance. These latter were the ordonnances de reforme (reforming ordinances), treating of the most varied subjects, according to the demands of the cahiers. They were not, however, for the most part very well observed. The last of the type was the grande ordonnance of 1629 (Code Michau), drawn up in accordance with the cahiers of 1614 and with the observations of various assemblies of notables that followed them.
The peculiar power of the Estates General was recognized, but was of a kind that could not often be exercised. It was, essentially, a constituent power. The ancient public law of France contained a number of rules called "the fundamental laws of the realm" (lois fondamentales du royaume), though most of them were purely customary. Chief among these were rules that determined the succession to the Crown and rules forbidding alienation of the domain of the Crown. The king, supreme though his power might be, could not abrogate, modify or infringe them. But it was admitted that he might do so by the consent of the Estates General. The Estates could give the king a dispensation from a fundamental law in a given instance; they could even, in agreement with the king, make new fundamental laws. The Estates of Blois of 1576 and 1588 offer entirely convincing precedents in this respect. It was universally recognized that in the event of the line of Hugh Capet becoming extinct, it would be the function of the States-General to elect a new king.
The Estates General of 1614 proved the last for over a century and a half. A new convocation had indeed been announced to take place on the majority of Louis XIII, and letters were even issued in view of the elections, but this ended in nothing. Absolute monarchy progressively became definitely established, and appeared incompatible with the institution of the Estates General. Liberal minds, however, in the entourage of Louis, duc de Bourgogne, who were preparing a new plan of government in view of his expected accession to the French throne in succession to Louis XIV, thought of reviving the institution. It figures in the projects of Saint-Simon and Fénelon though the latter would have preferred to begin with an assembly of non-elected notables. But though St Simon stood high in the favor of the regent Orléans, the death of Louis XIV did not see a summoning of the Estates.
1789[edit]
Main article: Estates-General of 1789
Caricature on the Third Estate carrying the first and second estate on its back
At the time of the revolution, the First Estate comprised 10,000 Catholic clergy and owned 5–10% of the lands in France—the highest per capita of any estate. All property of the First Estate was tax exempt. The Second Estate comprised the nobility, which consisted of 400,000 people at the time, including women and children. Since the death of Louis XIV in 1715, the nobles had enjoyed a resurgence in power. They had almost a monopoly over distinguished government service, higher church offices, army parliaments, and most other public and semipublic honors by the time of the revolution. Like the First Estate, they were not taxed by the principle of feudal precedent. The Third Estate comprised about 25 million people: the bourgeoisie, the peasants, and everyone else in France. Unlike the First and Second Estates, the Third Estate were compelled to pay taxes, but the bourgeoisie found one way or another to be exempt from them. The heavy burden of the French government therefore fell upon the poorest in French society—the peasantry, the working poor, and the farmers. There was much resentment from the Third Estate towards its superiors.
In 1789, the Estates General was summoned for the first time since 1614. As Fénelon had wished in former days, an Assembly of Notables in 1787 (which already displayed great independence) preceded the Estates General session. According to the model of 1614, the Estates General would consist of equal numbers of representatives of each Estate, but the Third Estate demanded, and ultimately received, double representation, which they already had in the provincial assemblies. When the Estates General convened in Versailles on 5 May 1789, however, it became clear that the double representation was something of a sham: voting was to occur "by orders", which meant that the collective vote of the 578 representatives of the Third Estate would be weighed the same as that of each of the other Estates.
Royal efforts to focus solely on taxes failed totally. The Estates General reached an immediate impasse, debating (with each of the three estates meeting separately) its own structure rather than the nation's finances. On 28 May 1789, Abbé Sieyès moved that the Third Estate, now meeting as the Communes (English: Commons), proceed with verification of its own powers and invite the other two estates to take part, but not to wait for them. They proceeded to do so, completing the process on June 17. Then they voted a measure far more radical, declaring themselves the National Assembly, an assembly not of the Estates but of "the People". They invited the other orders to join them, but made it clear that they intended to conduct the nation's affairs with or without them.
King Louis XVI of France tried to resist. When he shut down the Salle des États where the Assembly met, the Assembly moved their deliberations to a nearby tennis court, where they proceeded to swear the Tennis Court Oath (20 June 1789), under which they agreed not to separate until they had given France a constitution. A majority of the representatives of the clergy soon joined them, as did forty-seven members of the nobility. By 27 June the royal party had overtly given in, although the military began to arrive in large numbers around Paris and Versailles. Messages of support for the Assembly poured in from Paris and other French cities. On 9 July the Assembly reconstituted itself as the National Constituent Assembly.
See also[edit]
Wikimedia Commons has media related to French States-General.
States General of the Netherlands
Estates General of French Canada
The Estates
References[edit]
Jump up ^ Estates-General in Encyclopædia Britannica
^ Jump up to: a b Kiser, Edgar; April Linton (Dec 2002). "The hinges of history: state-making and revolt in early modern France". American Sociological Review. 67 (6): 889–910. doi:10.2307/3088975. JSTOR 3088975.
Jump up ^ Robin, Larsen and Levin. Encyclopedia of women in the Renaissance: Italy, France, and England. p. 42.
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "States-General". Encyclopædia Britannica (11th ed.). Cambridge University Press.
Diana Maury Robin, Anne R. Larsen and Carole Levin (2007). Encyclopedia of women in the Renaissance: Italy, France, and England. Santa Barbara, CA: ABC-CLIO, Inc. ISBN 1-8510-9772-4. CS1 maint: Uses authors parameter (link)
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I Loved Her First (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"I Loved Her First"
Single by Heartland
from the album I Loved Her First
Released
June 5, 2006
Format
CD single
Genre
Country
Length
3:32
Label
Lofton Creek
Songwriter(s)
Walt Aldridge
Elliott Park
Producer(s)
Walt Aldridge
Heartland singles chronology
"I Loved Her First"
(2006) "Built to Last"
(2007)
"I Loved Her First"
(2006) "Built to Last"
(2007)
"I Loved Her First" is a debut song recorded by American country music band Heartland. It was released in June 2006 as the first single title track from their debut studio album I Loved Her First (2006). The song reached Number One on the U.S. Billboard Hot Country Songs charts in late 2006.[1] The song was written by Walt Aldridge and Elliott Park.
Contents
[hide]
1 Content
2 Critical reception
3 Music video
4 Chart performance
5 Charts
5.1 Weekly charts
5.2 Year-end charts
6 References
Content[edit]
The song is a mid-tempo ballad in triple meter. In it, the male narrator is talking to the man who is about to marry his daughter, telling him that he is having difficulty giving her away because he "loved her first."
Critical reception[edit]
Deborah Evans Price, of Billboard magazine reviewed the song favorably, calling it a "beautifully written tearjerker that will hit home with dads everywhere who can't believe their little girls have grown up so soon." She calls Albert's performance "wonderful" and says that it "wrings every drop of emotion from the tender lyric."[2]
Music video[edit]
The music video was directed by Todd Schaffer and premiered in mid-2006. It features the group singing and a family at a wedding reception.
Chart performance[edit]
"I Loved Her First" debuted at number 57 on the U.S. Billboard Hot Country Singles & Tracks for the week of July 8, 2006. Driven by a viral video of a father singing the ballad at his daughter's wedding, it reappeared on the chart almost nine years later at number 7 on the chart dated February 21, 2015.[3] The song has sold over one million copies.[3]
Charts[edit]
Weekly charts[edit]
Chart (2006)
Peak
position
US Hot Country Songs (Billboard)[4] 1
US Billboard Hot 100[5] 34
US Billboard Pop 100 56
Chart (2015)
Peak
position
US Hot Country Songs (Billboard)[3] 7
Year-end charts[edit]
Chart (2006)
Position
US Country Songs (Billboard)[6] 30
Preceded by
"Would You Go with Me"
by Josh Turner Billboard Hot Country Songs
number-one single
October 28, 2006 Succeeded by
"Every Mile a Memory"
by Dierks Bentley
References[edit]
Jump up ^ Morris, Edward (2006-11-13). "Heartland Scores a No. 1 Its First Time Out". CMT.com. Retrieved 2008-02-07.
Jump up ^ Billboard, July 29, 2006
^ Jump up to: a b c Jessen, Wade (February 12, 2015). "Sam Hunt Scores Second No. 1 on Hot Country Songs, Heartland Returns". Billboard. Prometheus Global Media. Retrieved February 13, 2015.
Jump up ^ "Heartland Chart History (Hot Country Songs)" Billboard.
Jump up ^ "Heartland Chart History (Hot 100)" Billboard.
Jump up ^ "Best of 2006: Country Songs". Billboard. Prometheus Global Media. 2006. Retrieved July 10, 2012.
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Loved_Her_First_(song)&oldid=803181617"
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Debut singles
Songs written by Walt Aldridge
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America's Thanksgiving Parade
From Wikipedia, the free encyclopedia
Jump to: navigation, search
America's Thanksgiving Parade
Genre
Parade
Date(s)
Thanksgiving Day
Frequency
Annual
Location(s)
Detroit, Michigan, United States
Years active
91
Inaugurated
1924
Most recent
November 23, 2017
Patron(s)
The Michigan Thanksgiving Parade Foundation (since 1982)
Website
theparade.org
America's Thanksgiving Parade is an annual American parade held on Thanksgiving Day in downtown Detroit, Michigan. The tradition started in the city in 1924 by the J.L. Hudson Company department store. It shares the title for the second-oldest Thanksgiving parade in the United States with the Macy's Thanksgiving Day Parade in New York City, New York and is four years younger than the 6abc Dunkin' Donuts Thanksgiving Day Parade in Philadelphia, Pennsylvania.[1][2]
Contents
[hide]
1 History
2 Parade details
3 Broadcasts
4 Parade route
5 Parade foundation
6 See also
7 References
8 External links
History[edit]
The idea came from Hudson's display director Charles Wendel after the success of the Canadian Eaton's Santa Claus Parade in Toronto, Ontario. In addition to the usual floats and bands, Wendel obtained large papier-mâché heads similar to those he saw during a recent trip to Europe. The heads are made in Viareggio, Italy, and remain a fixture of the parade to the present.[3]
The parade was suspended in 1943 and 1944 due to material shortages caused by World War II, but Hudson's resumed the event in 1945 and continued sponsorship of the parade until 1979, when the costs became burdensome. It turned the parade over to the Detroit Renaissance Foundation, who produced it for four years. In 1983, Detroit Renaissance transferred control of the parade to the newly created Michigan Thanksgiving Parade Foundation. "America's Thanksgiving Parade" is a registered trademark of the foundation.[4]
Parade details[edit]
The parade features a variety of floats, marching bands and balloons, with the climax being the arrival of Santa Claus, who appears at the end to herald the arrival of the Christmas season. Unique to the parade are the Big Head Corps, featuring a large collection of papier-mâché heads,[5] and the Distinguished Clown Corps, which features local corporate and community leaders dressed as clowns.[6] The parade is made possible through the efforts of more than 4,500 volunteers.[7]
Broadcasts[edit]
The parade was first broadcast in 1931 on radio station WWJ.[8]:86
In 1959, the parade came to television on local stations WWJ-TV and WXYZ-TV. The WXYZ program was hosted by ventriloquist and puppeteer Shari Lewis and her sock puppet Lamb Chop and carried nationally on the ABC broadcast network. In 1960, the CBS broadcast network began to air portions of the parade and continued to do so for the next 25 parades.[8]:121–122 After a brief break in the mid-1980s, CBS returned to cover the parade through 2002 as part of its All-American Thanksgiving Day Parade compilation show. Over the years, several other well-known personalities were commentators for the Detroit parades, including John Amos, Ned Beatty, Kathy Garver, Captain Kangaroo host Bob Keeshan, Linda Lavin, Esther Rolle and Andrew Stevens.[9]
After being broadcast on WWJ, later WDIV, for over 20 years, local coverage switched to WXYZ for several years in the 1980s before returning to NBC-affiliate WDIV in the mid-1990s.[10] It is televised on other stations around Michigan and across the U.S., as well as through Internet television. The coverage of the parade typically includes a preshow featuring a variety of musical acts, often with celebrity performers. The coverage concludes with the Mayor of Detroit giving Santa Claus the key to the city.
Parade route[edit]
Since 2014, the parade has started just North of Warren, at Kirby and Woodward Avenue in front of the Detroit Historical Museum and the Park Shelton.[11] You can see the current parade route on The Parade Company's website.
Prior to 2014, since 2006, the parade began at Woodward and Mack Avenues. The parade ends at Congress Street. The Mack to Congress route is the route the first parade followed in 1924.[12] The parade travels toward downtown from Mack Avenue, and after crossing over Interstate 75 I-75), it enters Foxtown, near Detroit's Fox Theatre, the Hockeytown Cafe, and Comerica Park. From Foxtown, the parade passes through Grand Circus Park then into the business district, where it then enters the television coverage area near Grand River and Gratiot avenues.[13] The route was from this route for several years during the construction of Campus Martius Park and the realignment of Woodward Avenue and other adjacent streets. The construction was completed in 2004.
For many years, ending with Hudson's withdrawal in 1979, the parade began at Woodward and Putnam near the Detroit Public Library and ended at Hudson's Marquee near Gratiot Avenue, where Santa alighted his sleigh and received the key to the hearts of children of Detroit from the mayor.[3] In 1979, the route was moved several blocks north, beginning at Antoinette Street and ending at Adams Street, near Grand Circus Park. During this period, Santa alighted on the steps of the Detroit Institute of Arts to be welcomed by the mayor, then remounted to travel the remainder of the parade route.
For a period, the parade route was moved to Second Avenue because electrical wires that powered the Woodward Avenue streetcars posed a hazard to floats and their riders. Streetcars ceased operating on Woodward Avenue in 1956 when the Detroit Department of Street Railways converted to an all-motor-bus fleet.[14]
Parade foundation[edit]
The Michigan Thanksgiving Parade Foundation began in 1982 to manage, organize and raise funds for the parade.[4] In 1990, The Parade Company was founded as a foundation division to oversee operations and marketing activities.[3]
In addition to the parade, The Parade Company assumed responsibility for organizing the annual Windsor-Detroit International Freedom Festival in 1989 and helped to plan Stanley Cup victory parades for the Detroit Red Wings in 1997, 1998, 2002 and 2008.
See also[edit]
Holidays portal
Metro Detroit portal
Culture of Detroit
List of holiday parades
References[edit]
Jump up ^ "Our Daily Holiday Quiz". Fox12 Oregon. KPTV.com. Retrieved 2012-11-20.
Jump up ^ Theresa Plowright. "Thanksgiving Day Parades". About.com. Retrieved 2012-11-20.
^ Jump up to: a b c "Michigan History: Detroit's Thanksgiving Day Parade". The Detroit News. November 26, 1999. Retrieved May 26, 2011.
^ Jump up to: a b "About the Parade Company". The Parade Company. Retrieved May 26, 2011.
Jump up ^ "Big Head Corps". The Parade Company.
Jump up ^ "Distinguished Clown Corps". The Parade Company. Retrieved May 26, 2011.
Jump up ^ Sternberg, Laura (November 5, 2010). "Information About the 2010 America's Thanksgiving Parade in Detroit". About.com. Archived from the original on 7 July 2011. Retrieved May 26, 2011.
^ Jump up to: a b Pitrone, Jean Maddern (1991). Hudson's: Hub of America's Heartland. West Bloomfield, Michigan: Altwerger and Mandel Publishing. ISBN 978-1-878005-18-2.
Jump up ^ Butler, Kevin (November 1989). "CBS All-American Thanksgiving Day Parade Jubilees". TVparty.com. Retrieved June 20, 2011.
Jump up ^ "WXYZ-TV To Provide Live Coverage of the Michigan Thanksgiving Day Parade". Highwire.com (via PR Newswire). November 15, 1989. Retrieved June 20, 2011.
Jump up ^ http://www.theparade.org/americas-thanksgiving-parade/parade-info/
Jump up ^ "Parade Route 2007". WDIV-TV. November 13, 2006. Archived from the original on 9 June 2011. Retrieved May 26, 2011.
Jump up ^ "See the Official Parade Route". WDIV-TV. Archived from the original on 9 June 2011. Retrieved May 26, 2011.
Jump up ^ "The D.S.R. Years". Detroit Transit History.info. March 13, 2011. Retrieved May 26, 2011.
External links[edit]
theparade.org, The Parade Company's official website (the marketing and operating division of The Michigan Thanksgiving Parade Foundation, the parade's organiser)
WDIV Thanksgiving Day Parade page
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