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The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
--------------------------------------------------------------------------------
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.0 commentsFebruary 20th, 2011
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nolanmclove snapped a picture
Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Klappenbach, Laura (2008). "What is Counter Shading?". About.com. Retrieved 22 October 2008.
^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
External links
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American Kennel Club
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Dog
From Wikipedia, the free encyclopedia
For other uses, see Dog (disambiguation).
Domestic dog
Temporal range: 0.015–0 Ma
PreЄЄOSDCPTJKPgN
↓
Pleistocene – Recent
Yellow Labrador Retriever, the most registered breed of 2009 with the AKC.
More images of dogs.
Conservation status
Domesticated
Scientific classification
Kingdom: Animalia
Phylum: Chordata
Class: Mammalia
Order: Carnivora
Family: Canidae
Genus: Canis
Species: C. lupus
Subspecies: C. l. familiaris and C. l. dingo.[1][2]
Trinomial name
Canis lupus familiaris and Canis lupus dingo".[1][2]
Synonyms
Canis familiaris
Canis familiaris domesticus
The dog (Canis lupus familiaris[3] and Canis lupus dingo[1][2]) is a domesticated form of the gray wolf, a member of the Canidae family of the order Carnivora. The term is used for both feral and pet varieties. The dog was the first animal to be domesticated, and has been the most widely kept working, hunting, and companion animal in human history. The word "dog" may also mean the male of a canine species,[4] as opposed to the word "bitch" for the female of the species.[5]
Dogs were domesticated from gray wolves about 15,000 years ago.[6] They must have been very valuable to early human settlements, for they quickly became ubiquitous across world cultures. Dogs perform many roles for people, such as hunting, herding, pulling loads, protection, assisting police and military, companionship, and, more recently, aiding handicapped individuals. This impact on human society has given them the nickname "Man's best friend" in the western world. In 2001, there were estimated to be 400 million dogs in the world.[7]
Over the 15,000 year span the dog had been domesticated, it diverged into only a handful of landraces, groups of similar animals whose morphology and behavior have been shaped by environmental factors and functional roles. Through selective breeding by humans, the dog has developed into hundreds of varied breeds, and shows more behavioral and morphological variation than any other land mammal.[8] For example, height measured to the withers ranges from a few inches in the Chihuahua to a few feet in the Irish Wolfhound; color varies from white through grays (usually called "blue'") to black, and browns from light (tan) to dark ("red" or "chocolate") in a wide variation of patterns; coats can be short or long, coarse-haired to wool-like, straight, curly, or smooth.[9] It is common for most breeds to shed this coat.
Contents [hide]
1 Etymology and related terminology
2 Taxonomy
3 History and evolution
3.1 DNA studies
3.2 Roles with humans
3.2.1 Early roles
3.2.2 As pets
3.2.3 Work
3.2.4 Sports and shows
3.2.5 As a food source
3.2.6 Health risks to humans
3.2.7 Health benefits for humans
3.2.8 Shelters
4 Biology
4.1 Senses
4.1.1 Sight
4.1.2 Hearing
4.1.3 Smell
4.2 Physical characteristics
4.2.1 Coat
4.2.2 Tail
4.3 Types and breeds
4.4 Health
4.4.1 Mortality
4.4.2 Predation
4.5 Diet
4.6 Reproduction
4.7 Neutering
5 Intelligence and behavior
5.1 Intelligence
5.2 Behavior
5.3 Dog growl
6 Differences from wolves
6.1 Physical characteristics
6.2 Behavior
6.3 Trainability
7 Mythology
8 Gallery of dogs in art
9 See also
10 References
11 Further reading
12 External links
Etymology and related terminology
Dog is the common use term that refers to members of the subspecies Canis lupus familiaris (canis, "dog"; lupus, "wolf"; familiaris, "of a household" or "domestic"). The term can also be used to refer to a wider range of related species, such as the members of the genus Canis, or "true dogs", including the wolf, coyote, and jackals; or it can refer to the members of the subfamily Caninae, which would also include the African wild dog; or it can be used to refer to any member of the family Canidae, which would also include the foxes, bush dog, raccoon dog, and others.[10] Some members of the family have "dog" in their common names, such as the raccoon dog and the African wild dog. A few animals have "dog" in their common names but are not canids, such as the prairie dog.
The English word dog comes from Middle English dogge, from Old English docga, a "powerful dog breed".[11] The term may derive from Proto-Germanic *dukkōn, represented in Old English finger-docce ("finger-muscle").[12] The word also shows the familiar petname diminutive -ga also seen in frogga "frog", picga "pig", stagga "stag", wicga "beetle, worm", among others.[13] Due to the archaic structure of the word, the term dog may ultimately derive from the earliest layer of Proto-Indo-European vocabulary, reflecting the role of the dog as the earliest domesticated animal.[14]
In 14th-century England, hound (from Old English: hund) was the general word for all domestic canines, and dog referred to a subtype of hound, a group including the mastiff. It is believed this "dog" type of "hound" was so common it eventually became the prototype of the category “hound”.[15] By the 16th century, dog had become the general word, and hound had begun to refer only to types used for hunting.[16] Hound, cognate to German Hund, Dutch hond, common Scandinavian hund, and Icelandic hundur, is ultimately derived from the Proto-Indo-European *kwon- "dog", found in Welsh ci (plural cwn), Latin canis, Greek kýōn, Lithuanian šuõ.[17]
In breeding circles, a male canine is referred to as a dog, while a female is called a bitch (Middle English bicche, from Old English bicce, ultimately from Old Norse bikkja). A group of offspring is a litter. The father of a litter is called the sire, and the mother is called the dam. Offspring are, in general, called pups or puppies, from French poupée, until they are about a year old. The process of birth is whelping, from the Old English word hwelp, (cf. German Welpe, Dutch welp, Swedish valp, Icelandic hvelpur) .[18]
Taxonomy
The domestic dog was originally classified as Canis familiaris and Canis familiarus domesticus by Carolus Linnaeus in 1758,[19][20] and was reclassified in 1993 as Canis lupus familiaris, a subspecies of the gray wolf Canis lupus, by the Smithsonian Institution and the American Society of Mammalogists. Overwhelming evidence from behavior, vocalizations, morphology, and molecular biology led to the contemporary scientific understanding that a single species, the gray wolf, is the common ancestor for all breeds of domestic dogs;[21][22] however, the timeframe and mechanisms by which dogs diverged are controversial.[21] Canis lupus familiaris is listed as the name for the taxon that is broadly used in the scientific community and recommended by ITIS; Canis familiaris, however, is a recognised synomym.[23]
History and evolution
Main articles: Origin of the domestic dog and Wolves
Ancient Greek rhyton in the shape of a dog's head, made by Brygos, early 5th century BC. Jérôme Carcopino Museum, Department of Archaeology, Aleria
Domestic dogs inherited a complex social hierarchy and behaviors from their wolf ancestors. Dogs are pack hunters with a complex set of behaviors related to determining each dog's position in the social hierarchy, and they exhibit various postures and other means of nonverbal communication that reveal their states of mind.[3] These sophisticated forms of social cognition and communication may account for their trainability, playfulness, and ability to fit into human households and social situations, and these attributes have given dogs a relationship with humans that has enabled them to become one of the most successful species on the planet today.[21]
Although experts largely disagree over the details of dog domestication, it is agreed that human interaction played a significant role in shaping the subspecies.[24] Shortly after domestication, dogs became ubiquitous in human populations, and spread throughout the world. Emigrants from Siberia likely crossed the Bering Strait with dogs in their company, and some experts[who?] suggest the use of sled dogs may have been critical to the success of the waves that entered North America roughly 12,000 years ago,[citation needed] although the earliest archaeological evidence of dog-like canids in North America dates from about 9,000 years ago.[25] Dogs were an important part of life for the Athabascan population in North America, and were their only domesticated animal. Dogs also carried much of the load in the migration of the Apache and Navajo tribes 1,400 years ago. Use of dogs as pack animals in these cultures often persisted after the introduction of the horse to North America.[26][page needed]
The current consensus among biologists and archaeologists is that the dating of first domestication is indeterminate.[24][26] There is conclusive evidence dogs genetically diverged from their wolf ancestors at least 15,000 years ago,[6][27][28] but some believe domestication to have occurred earlier.[24] It is not known whether humans domesticated the wolf as such to initiate dog's divergence from its ancestors, or whether dog's evolutionary path had already taken a different course prior to domestication. For example, it is hypothesized that some wolves gathered around the campsites of paleolithic camps to scavenge refuse, and associated evolutionary pressure developed that favored those who were less frightened by, and keener in approaching, humans.
The bulk of the scientific evidence for the evolution of the domestic dog stems from archaeological findings and mitochondrial DNA studies. The divergence date of roughly 15,000 years ago is based in part on archaeological evidence that demonstrates the domestication of dogs occurred more than 15,000 years ago,[21][26] and some genetic evidence indicates the domestication of dogs from their wolf ancestors began in the late Upper Paleolithic close to the Pleistocene/Holocene boundary, between 17,000 and 14,000 years ago.[29] But there is a wide range of other, contradictory findings that make this issue controversial.
Archaeological evidence suggests the latest dogs could have diverged from wolves was roughly 15,000 years ago, although it is possible they diverged much earlier.[21] In 2008, a team of international scientists released findings from an excavation at Goyet Cave in Belgium declaring a large, toothy canine existed 31,700 years ago and ate a diet of horse, musk ox and reindeer.[30]
Prior to this Belgium discovery, the earliest dog fossils were two large skulls from Russia and a mandible from Germany dated from roughly 14,000 years ago.[6][21] Remains of smaller dogs from Natufian cave deposits in the Middle East, including the earliest burial of a human being with a domestic dog, have been dated to around 10,000 to 12,000 years ago.[6][31] There is a great deal of archaeological evidence for dogs throughout Europe and Asia around this period and through the next two thousand years (roughly 8,000 to 10,000 years ago), with fossils uncovered in Germany, the French Alps, and Iraq, and cave paintings in Turkey.[21] The oldest remains of a domesticated dog in the Americas were found in Texas and have been dated to about 9,400 years ago.[32]
DNA studies
DNA studies have provided a wider range of possible divergence dates, from 15,000 to 40,000 years ago,[6] to as much as 100,000 to 140,000 years ago.[33] This evidence depends on a number of assumptions that may be violated.[21] Genetic studies are based on comparisons of genetic diversity between species, and depend on a calibration date. Some estimates of divergence dates from DNA evidence use an estimated wolf-coyote divergence date of roughly 700,000 years ago as a calibration.[34] If this estimate is incorrect, and the actual wolf-coyote divergence is closer to one or two million years ago, or more,[35] then the DNA evidence that supports specific dog-wolf divergence dates would be interpreted very differently.
Furthermore, it is believed the genetic diversity of wolves has been in decline for the last 200 years, and that the genetic diversity of dogs has been reduced by selective breeding. This could significantly bias DNA analyses to support an earlier divergence date. The genetic evidence for the domestication event occurring in East Asia is also subject to violations of assumptions. These conclusions are based on the location of maximal genetic divergence, and assume hybridization does not occur, and that breeds remain geographically localized. Although these assumptions hold for many species, there is good reason to believe that they do not hold for canines.[21]
Genetic analyses indicate all dogs are likely descended from a handful of domestication events with a small number of founding females,[21][29] although there is evidence domesticated dogs interbred with local populations of wild wolves on several occasions.[6] Data suggest dogs first diverged from wolves in East Asia, and these domesticated dogs then quickly migrated throughout the world, reaching the North American continent around 8000 BC.[6] The oldest groups of dogs, which show the greatest genetic variability and are the most similar to their wolf ancestors, are primarily Asian and African breeds, including the Basenji, Lhasa Apso, and Siberian Husky.[36] Some breeds thought to be very old, such as the Pharaoh Hound, Ibizan Hound, and Norwegian Elkhound, are now known to have been created more recently.[36]
There is a great deal of controversy surrounding the evolutionary framework for the domestication of dogs.[21] Although it is widely claimed that "man domesticated the wolf,"[37] man may not have taken such a proactive role in the process.[21] The nature of the interaction between man and wolf that led to domestication is unknown and controversial. At least three early species of the Homo genus began spreading out of Africa roughly 400,000 years ago, and thus lived for a considerable time in contact with canine species. Despite this, there is no evidence of any adaptation of canine species to the presence of the close relatives of modern man. If dogs were domesticated, as believed, roughly 15,000 years ago, the event (or events) would have coincided with a large expansion in human territory and the development of agriculture. This has led some biologists to suggest one of the forces that led to the domestication of dogs was a shift in human lifestyle in the form of established human settlements. Permanent settlements would have coincided with a greater amount of disposable food and would have created a barrier between wild and anthropogenic canine populations.[21]
Roles with humans
A Siberian Husky used as a pack animal
Early roles
Wolves, and their dog descendants, would have derived significant benefits from living in human camps—more safety, more reliable food, lesser caloric needs, and more chance to breed.[38] They would have benefited from humans’ upright gait that gives them larger range over which to see potential predators and prey, as well as color vision that, at least by day, gives humans better visual discrimination.[38] Camp dogs would also have benefitted from human tool use, as in bringing down larger prey and controlling fire for a range of purposes.[38]
Humans would also have derived enormous benefit from the dogs associated with their camps.[39] For instance, dogs would have improved sanitation by cleaning up food scraps.[39] Dogs may have provided warmth, as referred to in the Australian Aboriginal expression “three dog night” (an exceptionally cold night), and they would have alerted the camp to the presence of predators or strangers, using their acute hearing to provide an early warning.[39] Anthropologists believe the most significant benefit would have been the use of dogs' sensitive sense of smell to assist with the hunt.[39] The relationship between the presence of a dog and success in the hunt is often mentioned as a primary reason for the domestication of the wolf, and a 2004 study of hunter groups with and without a dog gives quantitative support to the hypothesis that the benefits of cooperative hunting was an important factor in wolf domestication.[40]
The cohabitation of dogs and humans would have greatly improved the chances of survival for early human groups, and the domestication of dogs may have been one of the key forces that led to human success.[41]
A British Bulldog shares a day at the park.
As pets
“The most widespread form of interspecies bonding occurs between humans and dogs”[39] and the keeping of dogs as companions, particularly by elites, has a long history.[42] However, pet dog populations grew significantly after World War II as suburbanization increased.[42] In the 1950s and 1960s, dogs were kept outside more often than they tend to be today [43] (using the expression “in the doghouse” to describe exclusion from the group signifies the distance between the doghouse and the home) and were still primarily functional, acting as a guard, children’s playmate, or walking companion.[43] From the 1980s, there have been changes in the role of the pet dog, such as the increased role of dogs in the emotional support of their owners.[44] People and dogs have become increasingly integrated and implicated in each other’s lives,[45] to the point where pet dogs actively shape the way a family and home are experienced.[46]
There have been two major trends in the changing status of pet dogs. The first has been the ‘commodification’ of the dog, shaping it to conform to human expectations of personality and behaviour.[46] The second has been the broadening of the concept of the family and the home to include dogs-as-dogs within everyday routines and practices.[46]
There are a vast range of commodity forms available to transform a pet dog into an ideal companion.[47] The list of goods, services and places available is enormous: from dog perfumes, couture, furniture and housing, to dog groomers, therapists, trainers and care-takers, dog cafes, spas, parks and beaches, and dog hotels, airlines and cemeteries.[47] While dog training as an organized activity can be traced back to the 18th century, in the last decades of the 20th century it became a high profile issue as many normal dog behaviors such as barking, jumping up, digging, rolling in dung, fighting, and urine marking became increasingly incompatible with the new role of a pet dog.[48] Dog training books, classes and television programs proliferated as the process of commodifying the pet dog continued.[49]
A pet dog taking part in Christmas traditions
The majority of contemporary dog owners describe their dog as part of the family,[46] although some ambivalence about the relationship is evident in the popular reconceptualisation of the dog-human family as a pack.[46] A dominance model of dog-human relationships has been promoted by some dog trainers, such as on the television program Dog Whisperer. However it has been disputed that "trying to achieve status" is characteristic of dog–human interactions.[50] Pet dogs play an active role in family life; for example, a study of conversations in dog-human families showed how family members use the dog as a resource, talking to the dog, or talking through the dog, to mediate their interactions with each other.[51] Another study of dogs’ roles in families showed many dogs have set tasks or routines undertaken as family members, the most common of which was helping with the washing-up by licking the plates in the dishwasher, and bringing in the newspaper from the lawn.[46] Increasingly, human family members are engaging in activities centred on the perceived needs and interests of the dog, or in which the dog is an integral partner, such as Dog Dancing and Doga.[47]
According to the statistics published by the American Pet Products Manufacturers Association in the National Pet Owner Survey in 2009–2010, it is estimated there are 77.5 million dog owners in the United States.[52] The same survey shows nearly 40% of American households own at least one dog, of which 67% own just one dog, 25% two dogs and nearly 9% more than two dogs. There does not seem to be any gender preference among dogs as pets, as the statistical data reveal an equal number of female and male dog pets. Yet, although several programs are undergoing to promote pet adoption, only nearly a fifth of the owned dogs come from a shelter.
Work
Dogs have lived and worked with humans in so many roles that they have earned the unique nickname, "man's best friend",[53] a phrase used in other languages as well. They have been bred for herding livestock,[54] hunting (e.g. pointers and hounds),[55] rodent control,[3] guarding, helping fishermen with nets, and pulling loads, in addition to their roles as companions.[3]
Gaston III, Count of Foix, Book of the Hunt, 1387–88
Service dogs such as guide dogs, utility dogs, assistance dogs, hearing dogs, and psychological therapy dogs provide assistance to individuals with physical or mental disabilities.[56][57] Some dogs owned by epileptics have been shown to alert their handler when the handler shows signs of an impending seizure, sometimes well in advance of onset, allowing the owner to seek safety, medication, or medical care.[58]
Dogs included in human activities in terms of helping out humans are usually called working dogs. Dogs of several breeds are considered working dogs. Some working dog breeds include Akita, Alaskan Malamute, Anatolian Shepherd Dog, Bernese Mountain Dog, Black Russian Terrier, Boxer, Bullmastiff, Doberman Pinscher, Dogue de Bordeaux, German Pinscher, German Shepherd,[59] Giant Schnauzer, Great Dane, Great Pyrenees, Great Swiss Mountain Dog, Komondor, Kuvasz, Mastiff, Neapolitan Mastiff, Newfoundland, Portuguese Water Dog, Rottweiler, Saint Bernard, Samoyed, Siberian Husky, Standard Schnauzer, and Tibetan Mastiff.
Based on their size and strength, these dogs are more suitable for a wide range of jobs rather than companions for average families.[60] Moreover, most of these dogs have a different type of personality, usually more aggressive, which makes the relationship with their trainer safer when he is a professional and knows what type of behavior to expect from such a dog. The working dogs are trained properly and accordingly to the activities they will perform. Yet, despite the size of some dogs, they are sometimes used as pets as well. In general, however, they require special training and owners might have to learn how to bond with their pets, in these cases.
Some of these dogs are suitable for more than a single activity. For instance, Akita is a popular dog in the show ring, but its qualities make it a reliable animal in therapy work. The Alaskan Malamute is one of the most powerful and strong working dogs, and although some families have this type of breed as a pet, they are more likely to enjoy sledding, and performing different mountainous activities with their owners. The Anatolian Shepherd dog and the Black Russian Terrier are famous for their ability to work as guard dogs, being used to protect livestock. The Swiss Mountain dogs, Bullmastiffs and German Pinschers are suitable for carting, obedience, tracking and even therapy work.
Boxers are commonly used as service dogs for blind people because of their intelligence and alert expression. During war time, this type of dog was also used as a courier. Dobermans have proven themselves as great learners with an amazing capacity of retaining training, and as a result, they are commonly trained and used as police or war dogs. Some other types of breeds are easily trained for hunting or fighting, such as the Dogue de Bordeaux.
Sports and shows
Owners of dogs often enter them in competitions[61] such as breed conformation shows or sports, including racing and sledding.
In conformation shows, also referred to as breed shows, a judge familiar with the specific dog breed evaluates individual purebred dogs for conformity with their established breed type as described in the breed standard. As the breed standard only deals with the externally observable qualities of the dog (such as appearance, movement, and temperament), separately tested qualities (such as ability or health) are not part of the judging in conformation shows.
As a food source
See also: Dog meat
Dog meat is consumed in some East Asian countries, including Korea, China, and Vietnam, a practice that dates back to antiquity.[62] It is estimated that 13–16 million dogs are killed and consumed in Asia every year.[63] The BBC claims that, in 1999, more than 6,000 restaurants served soups made from dog meat in South Korea.[64] In Korea, the primary dog breed raised for meat, the nureongi (누렁이), differs from those breeds raised for pets that Koreans may keep in their homes.[65] The most popular Korean dog dish is gaejang-guk (also called bosintang), a spicy stew meant to balance the body's heat during the summer months; followers of the custom claim this is done to ensure good health by balancing one's gi, or vital energy of the body. A 19th century version of gaejang-guk explains that the dish is prepared by boiling dog meat with scallions and chili powder. Variations of the dish contain chicken and bamboo shoots. While the dishes are still popular in Korea with a segment of the population, dog is not as widely consumed as beef, chicken, and pork.[66]
Other cultures, such as Polynesia and pre-Columbian Mexico, also consumed dog meat in their history. However, Western, South Asian, African, and Middle Eastern cultures, in general, regard consumption of dog meat as taboo. In some places, however, such as in rural areas of Poland, dog fat is believed to have medicinal properties—being good for the lungs for instance.[67]
A CNN report in China dated March 2010 interviews a dog meat vendor who states that most of the dogs that are available for selling to restaurant are raised in special farms but that there is always a chance that a sold dog is someone's lost pet, although dog pet breeds are not considered edible.[68]
Health risks to humans
In the USA, cats and dogs are a factor in more than 86,000 falls each year.[69] It has been estimated around 2% of dog-related injuries treated in UK hospitals are domestic accidents. The same study found that while dog involvement in road traffic accidents was difficult to quantify, dog-associated road accidents involving injury more commonly involved two-wheeled vehicles.[70]
Toxocara canis (dog roundworm) eggs in dog feces can cause toxocariasis. In the United States, about 10,000 cases of Toxocara infection are reported in humans each year, and almost 14% of the US population is infected.[71] In Great Britain, 24% of soil samples taken from public parks contained T. canis eggs.[72] Untreated toxocariasis can cause retinal damage and decreased vision.[72] Dog feces can also contain hookworms that cause cutaneous larva migrans in humans.[73][74][75][76]
The incidence of dog bites, and especially fatal dog bites, is extremely rare in America considering the number of pet dogs in the country.[77] Fatalities from dog bites occur in America at the rate of one per four million dogs.[77] A Colorado study found bites in children were less severe than bites in adults.[78] The incidence of dog bites in the US is 12.9 per 10,000 inhabitants, but for boys aged 5 to 9, the incidence rate is 60.7 per 10,000. Moreover, children have a much higher chance to be bitten in the face or neck.[79] Sharp claws with powerful muscles behind them can lacerate flesh in a scratch that can lead to serious infections.[80]
In the UK between 2003 and 2004, there were 5,868 dog attacks on humans, resulting in 5,770 working days lost in sick leave.[81]
Health benefits for humans
A human cuddles a Doberman puppy.
A growing body of research indicates the companionship of a dog can enhance human physical health and psychological wellbeing.[82] Dog and cat owners have been shown to have better mental and physical health than nonowners, making fewer visits to the doctor and being less likely to be on medication than nonowners.[83] In one study, new pet owners reported a highly significant reduction in minor health problems during the first month following pet acquisition, and this effect was sustained in dog owners through to the end of the study. In addition, dog owners took considerably more physical exercise than cat owners and people without pets. The group without pets exhibited no statistically significant changes in health or behaviour. The results provide evidence that pet acquisition may have positive effects on human health and behaviour, and that for dog owners these effects are relatively long term.[84] Pet ownership has also been associated with increased coronary artery disease survival, with dog owners being significantly less likely to die within one year of an acute myocardial infarction than those who did not own dogs.[85]
The health benefits of dogs can result from contact with dogs, not just from dog ownership. For example, when in the presence of a pet dog, people show reductions in cardiovascular, behavioral, and psychological indicators of anxiety.[86] The benefits of contact with a dog also include social support, as dogs are able to not only provide companionship and social support themselves, but also to act as facilitators of social interactions between humans.[87] One study indicated that wheelchair users experience more positive social interactions with strangers when they are accompanied by a dog than when they are not.[88]
The practice of using dogs and other animals as a part of therapy dates back to the late 18th century, when animals were introduced into mental institutions to help socialize patients with mental disorders.[89] Animal-assisted intervention research has shown that animal-assisted therapy with a dog can increase a person with Alzheimer’s disease’s social behaviours, such as smiling and laughing.[90] One study demonstrated that children with ADHD and conduct disorders who participated in an education program with dogs and other animals showed increased attendance, increased knowledge and skill objectives, and decreased antisocial and violent behavior compared to those who were not in an animal-assisted program.[91]
Shelters
Main article: Animal shelter
Every year, between 6 and 8 million dogs and cats enter US animal shelters.[92] The Humane Society of the United States (HSUS) estimates that approximately 3 to 4 million dogs and cats are euthanized yearly in shelters across the United States.[93] However, the percentage of dogs in US animal shelters that are eventually adopted and removed from the shelters by their new owners has increased since the mid 1990s from around 25% up to around 60–75% in the mid first decade of the 21st century.[94]
Pets entering the shelters are euthanized in countries all over the world because of the lack of financial provisions to take care of these animals. Most shelters complain of not having enough resources to feed the pets and by being constrained to kill them, as the likelihood for all of them to find an owner is very small. In poor countries, euthanasia is usually violent.
Biology
Main article: Dog anatomy
Domestic dogs have been selectively bred for millennia for various behaviors, sensory capabilities, and physical attributes.[3] Modern dog breeds show more variation in size, appearance, and behavior than any other domestic animal. Nevertheless, their morphology is based on that of their wild ancestors, gray wolves.[3] Dogs are predators and scavengers, and like many other predatory mammals, the dog has powerful muscles, fused wrist bones, a cardiovascular system that supports both sprinting and endurance, and teeth for catching and tearing. Dogs are highly variable in height and weight. The smallest known adult dog was a Yorkshire Terrier, that stood only 6.3 centimetres (2.5 in) at the shoulder, 9.5 cm (3.7 in) in length along the head-and-body, and weighed only 113 grams (4.0 oz). The largest known dog was an English Mastiff which weighed 155.6 kilograms (343 lb) and was 250 cm (98 in) from the snout to the tail.[95] The tallest dog is a Great Dane that stands 106.7 cm (42.0 in) at the shoulder.[96]
Senses
Sight
Like most mammals, dogs are dichromats and have color vision equivalent to red-green color blindness in humans (deuteranopia).[97][98][99][100] Dogs are less sensitive to differences in grey shades than humans and also can detect brightness at about half the accuracy of humans.[101]
The dog's visual system has evolved to aid proficient hunting.[97] While a dog's visual acuity is poor (that of a poodle's has been estimated to translate to a Snellen rating of 20/75[97]), their visual discrimination for moving objects is very high; dogs have been shown to be able to discriminate between humans (e.g., identifying their owner) at a range of between 800 and 900 m, however this range decreases to 500-600 m if the object is stationary.[97] Dogs have a temporal resolution of between 60 and 70 Hz, which explains why many dogs struggle to watch television, as most such modern screens are optimized for humans at 50–60 Hz.[101] Dogs can detect a change in movement that exists in a single diopter of space within their eye. (humans require a change of between 10 and 20 diopters. In comparison, dogs can detect movement that is up to 20 times subtler than a human.[102][103]
As crepuscular hunters, dogs often rely on their vision in low light situations: They have very large pupils, a high density of rods in the fovea, an increased flicker rate, and a tapetum lucidum.[97] The tapetum is a reflective surface behind the retina that reflects light to give the photoreceptors a second chance to catch the photons. There is also a relationship between body size and overall diameter of the eye. A range of 9.5 and 11.6 mm can be found between various breeds of dogs. This 20% variance can be substantial and is associated as an adaptation toward superior night vision.[104]
The eyes of different breeds of dogs have different shapes, dimensions, and retina configurations.[105] Many long-nosed breeds have a "visual streak" – a wide foveal region that runs across the width of the retina and gives them a very wide field of excellent vision. Some long-muzzled breeds, in particular, the sighthounds, have a field of vision up to 270° (compared to 180° for humans). Short-nosed breeds, on the other hand, have an "area centralis": a central patch with up to three times the density of nerve endings as the visual streak, giving them detailed sight much more like a human's. Some broad-headed breeds with short noses have a field of vision similar to that of humans.[98][99] Most breeds have good vision, but some show a genetic predisposition for myopia – such as Rottweilers, with which one out of every two has been found to be myopic.[97] Dogs also have a greater divergence of the eye axis than humans, enabling them to rotate their pupils farther in any direction. The divergence of the eye axis of dogs ranges from 12-25° depending on the breed.[102]
Experimentation has proven that dogs can distinguish between complex visual images such as that of a cube or a prism. Dogs also show attraction to static visual images such as the silhouette of a dog on a screen, their own reflections, or videos of dogs; however, their interest declines sharply once they are unable to make social contact with the image.[106]
Hearing
The frequency range of dog hearing is approximately 40 Hz to 60,000 Hz,[107] which means that dogs can detect sounds far beyond the upper limit of the human auditory spectrum.[99][107][108] In addition, dogs have ear mobility, which allows them to rapidly pinpoint the exact location of a sound.[109] Eighteen or more muscles can tilt, rotate, raise, or lower a dog's ear. A dog can identify a sound's location much faster than a human can, as well as hear sounds at four times the distance.[109]
Smell
The highly sensitive nose of a dog.
While the human brain is dominated by a large visual cortex, the dog brain is dominated by an olfactory cortex.[97] The olfactory bulb in dogs is roughly forty times bigger than the olfactory bulb in humans, relative to total brain size, with 125 to 220 million smell-sensitive receptors.[97] The bloodhound exceeds this standard with nearly 300 million receptors.[97] Dogs can discriminate odors at concentrations nearly 100 million times lower than humans can.[110] The wet nose is essential for determining the direction of the air current containing the smell. Cold receptors in the skin are sensitive to the cooling of the skin by evaporation of the moisture by air currents.[111]
Physical characteristics
Coat
Main article: Coat (dog)
A heavy winter coat with countershading in a mixed-breed dog
The coats of domestic dogs are of two varieties: "double" being common with dogs (as well as wolves) originating from colder climates, made up of a coarse guard hair and a soft down hair, or "single", with the topcoat only.
Domestic dogs often display the remnants of countershading, a common natural camouflage pattern. A countershaded animal will have dark coloring on its upper surfaces and light coloring below,[112] which reduces its general visibility. Thus, many breeds will have an occasional "blaze", stripe, or "star" of white fur on their chest or underside.[113]
Tail
There are many different shapes for dog tails: straight, straight up, sickle, curled, or cork-screw. In some breeds, the tail is traditionally docked to avoid injuries (especially for hunting dogs).[114] In some breeds, puppies can be born with a short tail or no tail at all.[115] This occurs more frequently in those breeds that are frequently docked and thus have no breed standard regarding the tail.
Types and breeds
Main article: Dog breed
Further information: Dog type
Cavalier King Charles Spaniels demonstrate with-breed variation.
While all dogs are genetically very similar,[6] natural selection and selective breeding have reinforced certain characteristics in certain populations of dogs, giving rise to dog types and dog breeds. Dog types are broad categories based on function, genetics, or characteristics.[116] Dog breeds are groups of animals that possess a set of inherited characteristics that distinguishes them from other animals within the same species. Modern dog breeds are non-scientific classifications of dogs kept by modern kennel clubs. Purebred dogs of one breed are genetically distinguishable from purebred dogs of other breeds,[36] but the means by which kennel clubs classify dogs is unsystematic. Systematic analyses of the dog genome has revealed only four major types of dogs that can be said to be statistically distinct.[36] These include the "old world dogs" (e.g., Malamute and Shar Pei), "Mastiff"-type (e.g., English Mastiff), "herding"-type (e.g., Border Collie), and "all others" (also called "modern"- or "hunting"-type).[36][117]
Health
Main article: Dog health
Further information: Category:Dog health
See also: CVBD
Dogs are susceptible to various diseases, ailments, and poisons, some of which can affect humans. To defend against many common diseases, dogs are often vaccinated.
A mixed-breed dog
Some breeds of dogs are prone to certain genetic ailments such as elbow or hip dysplasia, blindness, deafness, pulmonic stenosis, cleft palate, and trick knees. Two serious medical conditions particularly affecting dogs are pyometra, affecting unspayed females of all types and ages, and bloat, which affects the larger breeds or deep-chested dogs. Both of these are acute conditions, and can kill rapidly. Dogs are also susceptible to parasites such as fleas, ticks, and mites, as well as hookworm, tapeworm, roundworm, and heartworm.
Dogs are highly susceptible to theobromine poisoning, typically from ingestion of chocolate. Theobromine is toxic to dogs because, although the dog's metabolism is capable of breaking down the chemical, the process is so slow that even small amounts of chocolate can be fatal, especially dark chocolate.
Dogs are also vulnerable to some of the same health conditions as humans, including diabetes, dental and heart disease, epilepsy, cancer, hypothyroidism, and arthritis.[118]
Mortality
Main article: Aging in dogs
The typical lifespan of dogs varies widely among breeds, but for most the median longevity, the age at which half the dogs in a population have died and half are still alive, ranges from 10 to 13 years.[119][120][121][122] Individual dogs may live well beyond the median of their breed.
The breed with the shortest lifespan (among breeds for which there is a questionnaire survey with a reasonable sample size) is the Dogue de Bordeaux, with a median longevity of about 5.2 years, but several breeds, including Miniature Bull Terriers, Bloodhounds, and Irish Wolfhounds are nearly as short-lived, with median longevities of 6 to 7 years.[122]
The longest-lived breeds, including Toy Poodles, Japanese Spitz, Border Terriers, and Tibetan Spaniels, have median longevities of 14 to 15 years.[122] The median longevity of Mixed-breed dogs, taken as an average of all sizes, is one or more years longer than that of purebred dogs when all breeds are averaged.[120][121][122][123] The dog widely reported to be the longest-lived is "Bluey," who died in 1939 and was claimed to be 29.5 years old at the time of his death; however, the Bluey record is anecdotal and unverified.[124] The longest verified records are of dogs living for 24 years.[124]
Predation
Although wild dogs, like wolves, are apex predators, they can be killed in territory disputes with wild animals.[125] Furthermore, in areas where both dogs and other large predators live, dogs can be a major food source for big cats or canines. Reports from Croatia indicate that dogs are killed by wolves more frequently than sheep. Wolves in Russia apparently limit feral dog populations. In Wisconsin, more compensation has been paid for dog losses than livestock.[125] Some wolf pairs have been reported to prey on dogs by having one wolf lure the dog out into heavy brush where the second animal waits in ambush.[126] In some instances, wolves have displayed an uncharacteristic fearlessness of humans and buildings when attacking dogs, to the extent that they have to be beaten off or killed.[127] Coyotes and big cats have also been known to attack dogs. Leopards in particular are known to have a predilection for dogs, and have been recorded to kill and consume them regardless of the dog's size or ferocity.[128] Tigers in Manchuria, Indochina, Indonesia, and Malaysia, are reputed to kill dogs with the same vigor as leopards.[129] Striped Hyenas are major predators of village dogs in Turkmenistan, India, and the Caucasus.[130] Reptiles such as alligators and pythons have been known to kill and eat dogs.
Diet
See also: Dog food
Golden Retriever gnawing a pig's foot.
Despite their descent from wolves and classification as Carnivora, dogs are variously described in scholarly and other writings as carnivores[131][132] or omnivores.[3][133][134][135] Unlike obligate carnivores, such as the cat family with its shorter small intestine, dogs can adapt to a wide-ranging diet, and are not dependent on meat-specific protein nor a very high level of protein in order to fulfill their basic dietary requirements. Dogs will healthily digest a variety of foods, including vegetables and grains, and can consume a large proportion of these in their diet.[3]
A number of common human foods and household ingestibles are toxic to dogs, including chocolate solids (theobromine poisoning), onion and garlic (thiosulphate, sulfoxide or disulfide poisoning),[136] grapes and raisins, macadamia nuts, as well as various plants and other potentially ingested materials.[137][138]
Reproduction
Two dogs copulating on a beach
Main article: Canine reproduction
In domestic dogs, sexual maturity begins to happen around age six to twelve months for both males and females,[3][139] although this can be delayed until up to two years old for some large breeds. This is the time at which female dogs will have their first estrous cycle. They will experience subsequent estrous cycles biannually, during which the body prepares for pregnancy. At the peak of the cycle, females will come into estrus, being mentally and physically receptive to copulation.[3] Because the ova survive and are capable of being fertilized for a week after ovulation, it is possible for a female to mate with more than one male.[3]
Dogs bear their litters roughly 56 to 72 days after fertilization,[3][140] with an average of 63 days, although the length of gestation can vary. An average litter consists of about six puppies,[141] though this number may vary widely based on the breed of dog. In general, toy dogs produce from one to four puppies in each litter, while much larger breeds may average as many as twelve.
Some dog breeds have acquired traits through selective breeding that interfere with reproduction. Male French Bulldogs, for instance, are incapable of mounting the female. For many dogs of this breed, the female must be artificially inseminated in order to reproduce.[142]
Neutering
A feral dog from Sri Lanka nursing her four puppies.
Neutering refers to the sterilization of animals, usually by removal of the male's testicles or the female's ovaries and uterus, in order to eliminate the ability to procreate and reduce sex drive. Because of the overpopulation of dogs in some countries, many animal control agencies, such as the American Society for the Prevention of Cruelty to Animals (ASPCA), advise that dogs not intended for further breeding should be neutered, so that they do not have undesired puppies that may have to later be euthanized.[143]
According to the Humane Society of the United States, 3–4 million dogs and cats are put down each year in the United States and many more are confined to cages in shelters because there are many more animals than there are homes. Spaying or castrating dogs helps keep overpopulation down.[144] Local humane societies, SPCAs, and other animal protection organizations urge people to neuter their pets and to adopt animals from shelters instead of purchasing them.
Neutering reduces problems caused by hypersexuality, especially in male dogs.[145] Spayed female dogs are less likely to develop some forms of cancer, affecting mammary glands, ovaries, and other reproductive organs.[146] However, neutering increases the risk of urinary incontinence in female dogs,[147] and prostate cancer in males,[148] as well as osteosarcoma, hemangiosarcoma, cruciate ligament rupture, obesity, and diabetes mellitus in either gender.[149]
Intelligence and behavior
Intelligence
Main article: Dog intelligence
The Border Collie is considered to be one of the most intelligent breeds.
The domestic dog has a predisposition to exhibit a social intelligence that is uncommon in the animal world.[97] Dogs are capable of learning in a number of ways, such as through simple reinforcement (e.g., classical or operant conditioning) and by observation.[97]
Dogs go through a series of stages of cognitive development. As with humans, the understanding that objects not being actively perceived still remain in existence (called object permanence) is not present at birth. It develops as the young dog learns to interact intentionally with objects around it, at roughly 8 weeks of age.[97]
Puppies learn behaviors quickly by following examples set by experienced dogs.[97] This form of intelligence is not peculiar to those tasks dogs have been bred to perform, but can be generalized to myriad abstract problems. For example, Dachshund puppies that watched an experienced dog pull a cart by tugging on an attached piece of ribbon in order to get a reward from inside the cart learned the task fifteen times faster than those left to solve the problem on their own.[97][150] Dogs can also learn by mimicking human behaviors. In one study, puppies were presented with a box, and shown that, when a handler pressed a lever, a ball would roll out of the box. The handler then allowed the puppy to play with the ball, making it an intrinsic reward. The pups were then allowed to interact with the box. Roughly three-quarters of the puppies subsequently touched the lever, and over half successfully released the ball, compared to only 6% in a control group that did not watch the human manipulate the lever.[151] Another study found that handing an object between experimenters who then used the object's name in a sentence successfully taught an observing dog each object's name, allowing the dog to subsequently retrieve the item.[152]
Dogs also demonstrate sophisticated social cognition by associating behavioral cues with abstract meanings.[97] One such class of social cognition involves the understanding that others are conscious agents. Research has shown that dogs are capable of interpreting subtle social cues, and appear to recognize when a human or dog's attention is focused on them. To test this, researchers devised a task in which a reward was hidden underneath one of two buckets. The experimenter then attempted to communicate with the dog to indicate the location of the reward by using a wide range of signals: tapping the bucket, pointing to the bucket, nodding to the bucket, or simply looking at the bucket.[153] The results showed that domestic dogs were better than chimpanzees, wolves, and human infants at this task, and even young puppies with limited exposure to humans performed well.[97]
Psychology research has shown that human faces are asymmetrical with the gaze instinctively moving to the right side of a face upon encountering other humans to obtain information about their emotions and state. Research at the University of Lincoln (2008) shows that dogs share this instinct when meeting a human being, and only when meeting a human being (i.e., not other animals or other dogs). As such they are the only non-primate species known to do so.[154][155]
Dr. Stanley Coren, an expert on dog psychology, states that these results demonstrated the social cognition of dogs can exceed that of even our closest genetic relatives, and that this capacity is a recent genetic acquisition that distinguishes the dog from its ancestor, the wolf.[97] Studies have also investigated whether dogs engaged in partnered play change their behavior depending on the attention-state of their partner.[156] Those studies showed that play signals were only sent when the dog was holding the attention of its partner. If the partner was distracted, the dog instead engaged in attention-getting behavior before sending a play signal.[156]
Dr. Coren has also argued that dogs demonstrate a sophisticated theory of mind by engaging in deception, which he supports with a number of anecdotes, including one example wherein a dog hid a stolen treat by sitting on it until the rightful owner of the treat left the room.[97] Although this could have been accidental, Coren suggests that the thief understood that the treat's owner would be unable to find the treat if it were out of view. Together, the empirical data and anecdotal evidence points to dogs possessing at least a limited form of theory of mind.[97][156]
A study found a third of dogs suffered from anxiety when separated from others.[157]
A Border Collie named Chaser has learned the names for 1,022 toys after three years of training, so many that her trainers have had to mark the names of the objects lest they forget themselves. This is higher than Rico, another border collie who could remember at least 200 objects.[158]
Behavior
Main article: Dog behavior
Further information: Category:Dog training and behavior
Although dogs have been the subject of a great deal of behaviorist psychology (e.g. Pavlov's dog), they do not enter the world with a psychological "blank slate".[97] Rather, dog behavior is affected by genetic factors as well as environmental factors.[97] Domestic dogs exhibit a number of behaviors and predispositions that were inherited from wolves.[97] The Gray Wolf is a social animal that has evolved a sophisticated means of communication and social structure. The domestic dog has inherited some of these predispositions, but many of the salient characteristics in dog behavior have been largely shaped by selective breeding by humans. Thus some of these characteristics, such as the dog's highly developed social cognition, are found only in primitive forms in grey wolves.[153]
The existence and nature of personality traits in dogs have been studied (15329 dogs of 164 different breeds) and five consistent and stable "narrow traits" identified, described as playfulness, curiosity/fearlessness, chase-proneness, sociability and aggressiveness. A further higher order axis for shyness–boldness was also identified.[159][160]
Dog growl
A new study in Budapest, Hungary has found that dogs are able to tell how big another dog is just by listening to its growl. A specific growl is used by dogs to protect their food. The research also shows that dogs do not lie about their size, and this is the first time research has shown animals can determine another’s size by the sound it makes. The test used image of many kind of dogs and together showed a small and big dog and also a growl. The result, showed that 20 of the 24 test dogs looked at the image of the appropriate-sized dog first and looked at it longest.[161]
Differences from wolves
Some dogs, like this Tamaskan, look very much like wolves.
Physical characteristics
Further information: Wolves
Compared to equally sized wolves, dogs tend to have 20% smaller skulls, 30% smaller brains,[162] as well as proportionately smaller teeth than other canid species.[163] Dogs require fewer calories to function than wolves. It is thought by certain experts that the dog's limp ears are a result of atrophy of the jaw muscles.[163] The skin of domestic dogs tends to be thicker than that of wolves, with some Inuit tribes favoring the former for use as clothing due to its greater resistance to wear and tear in harsh weather.[163] The paws of a dog are half the size of those of a wolf, and their tails tend to curl upwards, another trait not found in wolves.[164]
Behavior
Dogs tend to be poorer than wolves at observational learning, being more responsive to instrumental conditioning.[163] Feral dogs show little of the complex social structure or dominance hierarchy present in wolf packs. For example, unlike wolves, the dominant alpha pairs of a feral dog pack do not force the other members to wait for their turn on a meal when scavenging off a dead ungulate as the whole family is free to join in. For dogs, other members of their kind are of no help in locating food items, and are more like competitors.[163] Feral dogs are primarily scavengers, with studies showing that unlike their wild cousins, they are poor ungulate hunters, having little impact on wildlife populations where they are sympatric. However, feral dogs have been reported to be effective hunters of reptiles in the Galápagos Islands,[165] and free ranging pet dogs are more prone to predatory behavior toward wild animals.
Despite common belief, domestic dogs can be monogamous.[166] Breeding in feral packs can be, but does not have to be restricted to a dominant alpha pair (despite common belief, such things also occur in wolf packs).[167] Male dogs are unusual among canids by the fact that they mostly seem to play no role in raising their puppies, and do not kill the young of other females to increase their own reproductive success.[165] Some sources say that dogs differ from wolves and most other large canid species by the fact that they do not regurgitate food for their young, nor the young of other dogs in the same territory.[163]
An Australian Shepherd-Beagle mix displaying mastery of the "sit" command.
However, this difference was not observed in all domestic dogs. Regurgitating of food by the females for the young as well as care for the young by the males has been observed in domestic dogs, dingos as well as in other feral or semi-feral dogs. Regurgitating of food by the females and direct choosing of only one mate has been observed even in those semi-feral dogs of direct domestic dog ancestry. Also regurgitating of food by males has been observed in free-ranging domestic dogs.[166][168]
Trainability
Dogs display much greater tractability than tame wolves, and are, in general, much more responsive to coercive techniques involving fear, aversive stimuli, and force than wolves, which are most responsive toward positive conditioning and rewards.[169] Unlike tame wolves, dogs tend to respond more to voice than hand signals.[170]
Mythology
In mythology, dogs often serve as pets or as watchdogs.[171]
In Greek mythology, Cerberus is a three-headed watchdog who guards the gates of Hades.[171] In Norse mythology, a bloody, four-eyed dog called Garmr guards Helheim.[171] In Persian mythology, two four-eyed dogs guard the Chinvat Bridge.[171] In Philippine mythology, Kimat who is the pet of Tadaklan, god of thunder, is responsible for lightning. In Welsh mythology, Annwn is guarded by Cŵn Annwn[171]
In Judaism and Islam, dogs are viewed as unclean scavengers.[171] In Christianity, dogs represent faithfulness.[171] In Asian countries such as China, Korea, and Japan, dogs are viewed as kind protectors.[171]
Gallery of dogs in art
A hunter with a large pack of beagles, a breed of hunting dogs, 1885.
Ancient Greek black-figure pottery depicting the return of a hunter and his dog. Made in Athens between 550–530 BC, found in Rhodes.
Riders and dogs. Ancient Greek Attic black-figure hydria, ca. 510–500 BC, from Vulci. Louvre Museum, Paris.
This Roman mosaic shows a large dog with a collar hunting a lion.
William McElcheran's Cross Section-dogs Dundas (TTC) Toronto
Detail of The Imperial Prince and his dog Nero by Jean-Baptiste Carpeaux 1865 Marble. Photographed at the Musée d'Orsay.
See also
Dogs portal
Mammals portal
Book: Dog
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Bark (dog)
Dog behavior
Dog loyalty
Dog odor
Dog park
Dog training
List of dogs
List of fictional dogs
New Guinea Singing Dog
Subspecies of Canis lupus
Wolf-dog hybrid
Breeds:
List of dog breeds
List of most popular dog breeds
Dogs and people:
Dog licence
Dogs in religion
Dognapping
Ethnocynology
Fear of dogs
Mythology:
Cerberus
Dog king – Scandinavian tradition
Argos (dog)
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^ Cunliffe, Juliette (2004). "Coat Types, Colours and Markings". The Encyclopedia of Dog Breeds. Paragon Publishing. pp. 20–23. ISBN 0-7525-8276-3.
^ "The Case for Tail Docking". Council of Docked Breeds. Retrieved 22 October 2008.
^ "Bourbonnais pointer or ‘short tail pointer’".
^ The Merriam-Webster Editorial Staff, ed (1967). Webster's Third New International Dictionary of the English Language, Unabridged. Springfield, MA U.S.A.: G&C Merriam Company. p. 2476. "type (4a) the combination of character that fits an individual to a particular use or function (a strong horse of the draft type)"
^ Ostrander, Elaine A. (September–October 2007). "Genetics and the Shape of Dogs; Studying the new sequence of the canine genome shows how tiny genetic changes can create enormous variation within a single species". American Scientist (online). www.americanscientist.org. pp. also see chart page 4. Retrieved 09/22 2008.
^ Ward, Dr. Ernie. "Diseases shared by humans and pets". Dogtime.com. Retrieved 2 October 2010.
^ "Kennel Club/British Small Animal Veterinary Association Scientific Committee". 2004. Retrieved 5 July 2007.
^ a b Proschowsky, H. F., H. Rugbjerg, and A. K. Ersbell (2003). "Mortality of purebred and mixed-breed dogs in Denmark.". Preventive Veterinary Medicine 58: 63. doi:10.1016/S0167-5877(03)00010-2.
^ a b Michell AR (November 1999). "Longevity of British breeds of dog and its relationships with sex, size, cardiovascular variables and disease". The Veterinary Record 145 (22): 625–9. doi:10.1136/vr.145.22.625. PMID 10619607.
^ a b c d Compiled by K. M. Cassidy.. "Dog Longevity Web Site, Breed Data page.". Retrieved 8 July 2007.
^ Patronek GJ, Waters DJ, Glickman LT (May 1997). "Comparative longevity of pet dogs and humans: implications for gerontology research". The Journals of Gerontology. Series a, Biological Sciences and Medical Sciences 52 (3): B171–8. PMID 9158552.
^ a b AnAge entry for Canis familiaris AnAge Database. Human Aging Genomic Resources. Retrieved 17 July 2007.
^ a b Boitani, Luigi; Mech, L. David (2003). Wolves: behavior, ecology, and conservation. Chicago: University of Chicago Press. p. 448. ISBN 0-226-51696-2.
^ Graves, Will (2007). Wolves in Russia: Anxiety throughout the ages. Calgary: Detselig Enterprises. p. 222. ISBN 1550593323.
^ Kojola, I., Ronkainen, S., Hakala, A., Heikkinen, S., Kokko, S.. Interactions between wolves Canis lupus and dogs C. familiaris in Finland.. Nordic Council for Wildlife Research.
^ Jonathan & Angela Scott (2006). Big Cat Diary: Leopard. London: Collins. p. 108. ISBN 0007211813.
^ Perry, Richard (1965). The World of the Tiger. p. 260. ASIN: B0007DU2IU.
^ "Striped Hyaena Hyaena (Hyaena) hyaena (Linnaeus, 1758)". IUCN Species Survival Commission Hyaenidae Specialist Group. May. Archived from the original on 28 September 2007. Retrieved 21 May 2008.
^ Marc Bekoff; Dale Jamieson (2006). "Ethics and the Study of Carnivores". Animal passions and beastly virtues. Temple University Press. ISBN 9781592133482.
^ Evan B. Hazard (1982). "Order Carnivora". The mammals of Minnesota. U of Minnesota Press. ISBN 9780816609529.
^ S. G. Pierzynowski; R. Zabielski (1999). Biology of the pancreas in growing animals. Volume 28 of Developments in animal and veterinary sciences. Elsevier Health Sciences. p. 417. ISBN 9780444502179.
^ National Research Council (U.S.). Ad Hoc Committee on Dog and Cat Nutrition (2006). Nutrient requirements of dogs and cats. National Academies Press. p. 137. ISBN 9780309086288.
^ Cheryl S. Smith (2008). "Chapter 6, Omnivores Together". Grab Life by the Leash: A Guide to Bringing Up and Bonding with Your Four-Legged Friend. John Wiley and Sons. ISBN 9780470178829.
^ Sources vary on which of these are considered the most significant toxic item.
^ "Toxic Foods and Plants for Dogs". entirelypets.com. Retrieved 24 June 2010.
^ Drs. Foster & Smith. "Foods to Avoid Feeding Your Dog". peteducation.com. Retrieved 24 June 2010.
^ "Sexual Maturity — Spay and Neuter". Buffalo.com. Retrieved 22 October 2008.
^ "Normal gestation in dogs". Retrieved 22 October 2008.
^ "HSUS Pet Overpopulation Estimates". The Humane Society of the United States. Retrieved 22 October 2008.
^ "French Bulldog Pet Care Guide". Retrieved 7 January 2008.
^ "Top 10 reasons to spay/neuter your pet". American Society for Prevention of Cruelty to Animals. Retrieved 16 May 2007.
^ Mahlow, Jane C. (1999). "Estimation of the proportions of dogs and cats that are surgically sterilized". Journal of the American Veterinary Medical Association (excerpt quoted by spayusa.org) 215: 640–643. Retrieved 30 November 2006. "Although the cause of pet overpopulation is multifaceted, failure of owners to spay and castrate their animals is a major contributing factor.".
^ Heidenberger E, Unshelm J, E (Feb 1990). "Changes in the behavior of dogs after castration" (in German). Tierärztliche Praxis 18 (1): 69–75. ISSN 0303-6286. PMID 2326799.
^ Morrison, Wallace B. (1998). Cancer in Dogs and Cats (1st ed.). Williams and Wilkins. ISBN 0-683-06105-4.
^ Arnold S (1997). "[Urinary incontinence in castrated bitches. Part 1: Significance, clinical aspects and etiopathogenesis]" (in German). Schweizer Archiv Für Tierheilkunde 139 (6): 271–6. PMID 9411733.
^ Johnston SD, Kamolpatana K, Root-Kustritz MV, Johnston GR, SD (Jul 2000). "Prostatic disorders in the dog". Anim. Reprod. Sci. 60–61: 405–15. doi:10.1016/S0378-4320(00)00101-9. ISSN 0378-4320. PMID 10844211.
^ Kustritz, MV (Dec 2007). "Determining the optimal age for gonadectomy of dogs and cats". JAVMA 231 (11): 1665–1675. doi:10.2460/javma.231.11.1665. ISSN 0003-1488. PMID 18052800.
^ Dr. Leonore Loeb Adler, Helmut E. Adler (2004). "Ontogeny of observational learning in the dog (Canis familiaris)". Developmental Psychobiology 10 (3): 267–271. doi:10.1002/dev.420100310. PMID 863122.
^ Kubinyi, E., Topal, J., & Miklosi, A. (2003). "Dogs (canis familiaris) learn their owners via observation in a manipulation task.". Journal of Comparative Psychology 117: 156. doi:10.1037/0735-7036.117.2.156.
^ "The efficacy of the model-rival method when compared to operant conditioning for training domestic dogs to perform a retrieval-selection task.". AABS. 2003.
^ a b Hare, B., Brown, M., Williamson, C., & Tomasello, M., B (Nov 2002). "The domestication of social cognition in dogs". Science 298 (5598): 1634–6. doi:10.1126/science.1072702. ISSN 0036-8075. PMID 12446914.
^ K Guo, C Hall, S Hall, K Meints, D Mills (2007). "Left gaze bias in human infants, rhesus monkeys, and domestic dogs". Perception 36 ECVP. Retrieved 24 June 2010.
^ Alleyne, Richard (29 October 2008). "Dogs can read emotion in human faces". Daily Telegraph (London). Retrieved 24 June 2010.
^ a b c "Attention to attention in domestic dog (Canis familiaris) dyadic play". Journal Animal Cognition (Springer Berlin / Heidelberg) 12. 2009. Retrieved 18 February 2009.
^ "Behaviour problems linked to pessimistic dogs". Sydney Morning Hearld. 12 October 2010. Retrieved 21 October 2010.
^ Smart US dog learns more than 1,000 words http://www.straitstimes.com/BreakingNews/TechandScience/Story/STIStory_621903.html
^ Kenth Svartberga, Björn Forkman, K (14 June 2002). "Personality traits in the domestic dog (Canis familiaris)". Applied animal behavior science 79 (2): 133–155. doi:10.1016/S0168-1591(02)00121-1. Retrieved 24 June 2010.
^ Svartberg et al, K; Tapper, I; Temrin, H; Radesater, T; Thorman, S (26 April 2004). "Consistency of personality traits in dogs". Animal Behaviour 69 (2): 283–291. doi:10.1016/j.anbehav.2004.04.011.
^ Faragó, T; Pongrácz P, Miklósi Á, Huber L, Virányi Z, et al. (15 December 2010). "Dogs' Expectation about Signalers' Body Size by Virtue of Their Growls". PLoS ONE 5 (12). doi:10.1371/journal.pone.0015175. Retrieved 17 February 2011.
^ Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 35. ISBN 0-521-42537-9.
^ a b c d e f Coppinger, Ray (2001). Dogs: a Startling New Understanding of Canine Origin, Behavior and Evolution. New York: Scribner. ISBN 0684855305.
^ Lopez, Barry (1978). Of wolves and men. New York: Scribner Classics. p. 320. ISBN 0743249364.
^ a b Serpell, James (1995). The Domestic Dog; its evolution, behaviour and interactions with people. Cambridge: Cambridge Univ. Press. p. 267. ISBN 0-521-42537-9.
^ a b Pal SK (January 2005). "Parental care in free-ranging dogs, Canis familiaris". Applied Animal Behaviour Science 90 (1): 31–47. doi:10.1016/j.applanim.2004.08.002.
^ Günther Bloch: Die Pizza-Hunde. ISBN 978-3-440-10986-1
^ Eberhard Trumler, Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens; 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
^ "Are wolves and wolfdog hybrids trainable?". Wolf Park. Archived from the original on 15 June 2008. Retrieved 30 October 2008.
^ "Wolf Training and Socialisation: Example #1". Wolf Park. Archived from the original on 10 February 2008. Retrieved 30 October 2008.
^ a b c d e f g h Josepha Sherman (August 2008). Storytelling: An Encyclopedia of Mythology and Folklore. Sharpe Reference. pp. 118–121. ISBN 9780765680471.
Further reading
Abrantes, Roger (1999). Dogs Home Alone. Wakan Tanka, 46 pages. ISBN 0-9660484-2-3 (paperback).
A&E Television Networks (1998). Big Dogs, Little Dogs: The companion volume to the A&E special presentation, A Lookout Book, GT Publishing. ISBN 1-57719-353-9 (hardcover).
Alderton, David (1984). The Dog, Chartwell Books. ISBN 0-89009-786-0.
Bloch, Günther. Die Pizza-Hunde (German), 2007, Franckh-Kosmos-Verlags GmbH & Co. KG, Stuttgart, ISBN 978-3-440-10986-1
Brewer, Douglas J. (2002) Dogs in Antiquity: Anubis to Cerberus: The Origins of the Domestic Dog, Aris & Phillips ISBN 0-85668-704-9
Coppinger, Raymond and Lorna Coppinger (2002). Dogs: A New Understanding of Canine Origin, Behavior and Evolution, University of Chicago Press ISBN 0-226-11563-1
Cunliffe, Juliette (2004). The Encyclopedia of Dog Breeds. Parragon Publishing. ISBN 0-7525-8276-3.
Derr, Mark (2004). Dog's Best Friend: Annals of the Dog-Human Relationship. University of Chicago Press. ISBN 0-226-14280-9
Donaldson, Jean (1997). The Culture Clash. James & Kenneth Publishers. ISBN 1-888047-05-4 (paperback).
Fogle, Bruce, DVM (2000). The New Encyclopedia of the Dog. Doring Kindersley (DK). ISBN 0-7894-6130-7.
Grenier, Roger (2000). The Difficulty of Being a Dog. University of Chicago Press ISBN 0-226-30828-6
Milani, Myrna M. (1986). The Body Language and Emotion of Dogs: A practical guide to the Physical and Behavioral Displays Owners and Dogs Exchange and How to Use Them to Create a Lasting Bond, William Morrow, 283 pages. ISBN 0-688-12841-6 (trade paperback).
Pfaffenberger, Clare (1971). New Knowledge of Dog Behavior. Wiley, ISBN 0-87605-704-0 (hardcover); Dogwise Publications, 2001, 208 pages, ISBN 1-929242-04-2 (paperback).
Shook, Larry (1995). "Breeders Can Hazardous to Health", The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Two, pp. 13–34. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
Shook, Larry (1995). The Puppy Report: How to Select a Healthy, Happy Dog, Chapter Four, "Hereditary Problems in Purebred Dogs", pp. 57–72. Ballantine, 130 pages, ISBN 0-345-38439-3 (mass market paperback); Globe Pequot, 1992, ISBN 1-55821-140-3 (hardcover; this is much cheaper should you buy).
RW Nelson, Couto page 107 Small animal internal medicine,
Thomas, Elizabeth Marshall (1993). The Hidden Life of Dogs (hardcover), A Peter Davison Book, Houghton Mifflin. ISBN 0-395-66958-8.
Trumler, Eberhard. Mit dem Hund auf du; Zum Verständnis seines Wesens und Verhaltens (German); 4. Auflage Januar 1996; R. Piper GmbH & Co. KG, München
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Contact us0 commentsMay 20th, 2011
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kokeleya commented on kokeleya's picture
Originally from western North Carolina, Zach moved to New York City after failing his last college class by one point. Zach got his start performing his brand of humor in the back of a hamburger joint in Times Square. He now tours the country, performing in coffee shops and universities. When not performing stand-up...
7 commentsJune 5th, 2011
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Laurathesmall commented on Laurathesmall's picture
@Paaigekins I love you!
@bouncyangel sucks doesn't it, i suppose the right decision will come eventually.
@edinguy I'd want to be the one performing, it the performing side to the performing arts that i like, i'd hate teaching it because i'd miss actually performing too much.
@shadowdrag9 Nope, I wouldn't want to teach, at all. and a camera man? nice :)14 commentsJanuary 4th, 2010
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AbbieJaay commented on AmberANDVinegar's picture
I'd do performing arts.
I know this is stupid, but I'd flip a coin and you'll probably know because you'll be wanting it to land on a certain side. Maybe that's what you could choose?
But isn't it possible to give up performing arts and start childrens nursing if you don't want to be in performing arts anymore?6 commentsMarch 11th, 2010
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crimsong19 commented on myflamingparrot's picture
XD
And Arcade Fire performing then winning album of the year then performing again ... *see picture*37 commentsFebruary 13th, 2011
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GeddyLeesPingas commented on jayyyrosales' picture
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
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Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
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Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.
The original line-up formed in the neighbourhood of Willowdale in Toronto, Ontario, by Lifeson, bassist and front man Jeff Jones, and drummer John Rutsey. Within a couple of weeks of forming, and before their second performance, bassist and lead vocalist Jones was replaced by Geddy Lee, a schoolmate of Lifeson. After several lineup reformations, Rush's official incarnation was formed in May 1971 consisting of Lee, Lifeson, and Rutsey. The band was managed by local Toronto resident Ray Danniels, a frequent attendee of Rush's early shows.[7][8]
After gaining stability in the lineup and honing their skills on the local bar/high school dance circuit, the band came to release their first single "Not Fade Away", a cover of the Buddy Holly song, in 1973. Side B contained an original composition, "You Can't Fight It", credited to Lee and Rutsey. The single generated little reaction and, because of record company indifference, the band formed their own independent record label, Moon Records. With the aid of Danniels and the newly enlisted engineer Terry Brown, the band released their self-titled debut album in 1974, which was considered highly derivative of Led Zeppelin.[9] Rush had limited local popularity until the album was picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ and music director working at the station, selected "Working Man" for her regular play list. The song's blue collar theme resonated with hard rock fans and this new found popularity led to the album being re-released by Mercury Records in the U.S.[10][11]
The "starman" logo first appeared on the back cover of the 1976 album 2112. Hugh Syme, creator of graphics on many of Rush's albums, stated in a 1983 interview that the Starman "didn't begin as an identity factor for the band, it just got adopted."[12]Immediately after the release of the debut album in 1974, Rutsey was forced to leave the band due to health difficulties stemming from diabetes and a general distaste for touring. His last performance with the band was on July 25, 1974 at Centennial Hall in London, Ontario. Rush held auditions for a new dummer and eventually selected Neil Peart as Rutsey's replacement. Peart officially joined the band on July 29, 1974, two weeks before the group's first U.S. tour. They performed their first concert together, opening for Uriah Heep and Manfred Mann with an attendance of over 11,000 people at the Civic Arena in Pittsburgh, Pennsylvania on August 14. In addition to becoming the band's drummer, Peart assumed the role of principal lyricist from Lee, who had very little interest in writing, despite penning the lyrics of the band's first album.[13] Instead, Lee, along with Lifeson, focused primarily on the musical aspects of Rush. Fly by Night (1975), Rush's first album after recruiting Peart, saw the inclusion of the band's first epic mini-tale "By-Tor and the Snow Dog", replete with complex arrangements and multi-section format. Lyrical themes also underwent dramatic changes after the addition of Peart because of his love for fantasy and science-fiction literature.[14] However, despite these many differences some of the music and songs still closely mirrored the blues style found on Rush's debut.[14][15]
Following quickly on the heels of Fly By Night, the band released 1975's Caress of Steel, a five track hard rock/heavy metal album featuring two extended multi-chapter songs, "The Necromancer" and "The Fountain of Lamneth." Some critics said Caress of Steel was unfocused and an audacious move for the band because of the placement of two back-to-back protracted songs, as well as a heavier reliance on atmospherics and story-telling, a large deviation from Fly by Night.[16] Intended to be the band's first "break-through" album, Caress of Steel sold below expectations and the promotional tour consisted of smaller venues which led to the moniker the "Down the Tubes Tour".[17] In light of these events, Rush's record label pressured them into molding their next album in a more commercially friendly and accessible fashion. However, the band ignored the requests and developed their next album, 2112 with a 20-minute title track divided into seven sections. Despite this, the album was the band's first taste of commercial success and their first platinum album in Canada.[18] The supporting tour for the album culminated in a three night stand at Massey Hall in Toronto, which the band recorded for the release of their first live album titled All the World's a Stage. Allmusic critic Greg Prato summarily reminds listeners and fans of how the album demarcates the boundary between the band's early years and the next era of their music.[19][20]
[edit] The progressive rock era (1977–1981)After 2112, Rush retreated to the United Kingdom to record 1977's A Farewell to Kings and 1978's Hemispheres at Rockfield Studios in Wales. These albums saw the band members expanding the use of progressive elements in their music. "As our tastes got more obscure," Geddy Lee said in a recent interview, "we discovered more progressive rock-based bands like Yes, Van der Graaf Generator and King Crimson, and we were very inspired by those bands. They made us want to make our music more interesting and more complex and we tried to blend that with our own personalities to see what we could come up with that was indisputably us."[21] Trademarks such as increased synthesizer usage, extended-length concept songs, and highly dynamic playing featuring complex time signature changes became a staple of Rush's compositions. To achieve a broader, more progressive palette of sound, Alex Lifeson began to experiment with classical and twelve-string guitars, and Geddy Lee added bass-pedal synthesizers and Minimoog. Likewise, Peart's percussion became diversified in the form of triangles, glockenspiel, wood blocks, cowbells, timpani, gong and chimes. Beyond instrument additions, the band kept in stride with the progressive rock movement by continuing to compose long, conceptual songs with science fiction and fantasy overtones. However, as the new decade approached, Rush gradually began to dispose of their older styles of music in favor of shorter, and sometimes softer, arrangements. The lyrics up to this point (most of them written by Peart) were heavily influenced by classical poetry, fantasy literature, science fiction, and the writings of novelist Ayn Rand, as exhibited most prominently by their 1975 song "Anthem" from Fly By Night and a specifically acknowledged derivation in 1976's 2112.[22]
Permanent Waves (1980) dramatically shifted Rush's style of music via the introduction of reggae and new wave elements.[23] Although a hard rock style was still evident, more and more synthesizers were introduced. Moreover, because of the limited airplay Rush's previous extended-length songs received, Permanent Waves included shorter, more radio-friendly songs such as "The Spirit of Radio" and "Freewill", two songs which helped Permanent Waves become Rush's first U.S. Top 5 album; both songs continue to make appearances on classic rock radio stations in Canada and the United States to this day.[24] Meanwhile, Peart's lyrics shifted toward an expository tone with subject matter that dwelled less on fantastical or allegorical story-telling and more heavily on topics that explored humanistic, social and emotional elements. Rush joined with fellow Toronto-based rock band Max Webster on July 28, 1980 to record "Battle Scar" for their 1980 release, Universal Juveniles.[25] While on tour together following the release, both bands would join between sets to play "Battle Scar". The song acted as both a transition from Max Webster to Rush, as well as a warm-up for Peart. In addition, Max Webster lyricist Pye Dubois offered the band lyrics to a song he had written. The band accepted; the song went on, after reworking by Peart, to become "Tom Sawyer".[25]
"Tom Sawyer" (1981)
Sample of "Tom Sawyer" from the album Moving Pictures. This is the band's best known song with heaviest radio airplay.
--------------------------------------------------------------------------------
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Rush's popularity reached its pinnacle with the release of Moving Pictures in 1981. Moving Pictures essentially continued where Permanent Waves left off, extending the trend of highly accessible and commercially friendly progressive rock that helped thrust them into the spotlight. The lead track, "Tom Sawyer", is probably the band's best-known song[26] with "Limelight" also receiving satisfactory responses from listeners and radio stations. Moving Pictures was Rush's last album to feature an extended song, the eleven-minute "The Camera Eye". The song also contained the band's heaviest usage of synthesizers up to that point, hinting that Rush's music was shifting direction once more. Moving Pictures reached #3 on the Billboard 200 album chart and has been certified quadruple platinum by the Recording Industry Association of America.[27]
Following the success of Moving Pictures and the completion of another four studio albums, Rush released their second live recording, Exit...Stage Left, in 1981. The album delineates the apex of Rush's progressive period by featuring live material from the band's Permanent Waves and Moving Pictures tours. As with their first live release, Exit...Stage Left identified the margin of a new chapter of Rush's sound.
[edit] The synthesizer period (1982–1989)
The OBX synthesizer used by Geddy Lee on the album Signals (1982).The band underwent another radical stylistic transmutation with the release of Signals in 1982.[28]
While Lee's synthesizers had been featured instruments ever since the late 70s, keyboards were suddenly shifted from the contrapuntal background to the melodic front-lines[29][30] in songs like "Countdown" and the lead-off track "Subdivisions". Both feature prominent lead synthesizer lines with minimalistic guitar chords and solos. Other previously unused instrument additions were seen in the song "Losing It," featuring collaborator Ben Mink on electric violin.[28]
"Subdivisions" (1982)
Sample of "Subdivisions" from the album Signals. This song is notable for demonstrating the band's foray into their synthesizer period.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Signals also represented a drastic stylistic transformation apart from instrumental changes. The album contained Rush's only U.S. top-40 pop hit, "New World Man",[31] while other more experimental songs such as "Digital Man", "The Weapon", and "Chemistry" expanded the band's use of ska, reggae, and funk.[32] Although the band members consciously decided to move in this overall direction, they felt dissatisfied with long-time producer Terry Brown's studio treatment of Signals and parted ways with him in 1983. These diverse styles would come into further play on their next studio album.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984's Grace Under PressureThe style and production of Signals were augmented and taken to new heights on 1984's Grace Under Pressure. It was Peart who named the album, as he borrowed the words of Ernest Hemingway to describe what the band had to go through after making the decision to leave Terry Brown. Producer Steve Lillywhite, who gleaned fame with successful productions of Simple Minds and U2, was enlisted to produce Grace Under Pressure. However, he backed out at the last moment, much to the ire of Lee, Lifeson and Peart. Lee said "Steve Lillywhite is really not a man of his word....after agreeing to do our record, he got an offer from Simple Minds, changed his mind, blew us off,..so it put us in a horrible position." Rush eventually hired Peter Henderson to co-produce and engineer the album in his stead.[33]
Musically, although Lee's use of sequencers and synthesizers remained the band's cornerstone, his focus on new technology was complemented by Peart's adaptation of Simmons electronic drums and percussion. Lifeson's contributions on the album were decidedly enhanced to act as an overreaction to the minimalistic role he played on Signals.[34] Still, many of his trademark guitar textures remained intact in the form of open reggae chords and funk and new-wave rhythms.
With new producer Peter Collins, the band released 1985's Power Windows and 1987's Hold Your Fire. The music on these two albums gives far more emphasis and prominence to Lee's multi-layered synthesizer work. While fans and critics took notice of Lifeson's diminished guitar work, his presence was still palpable. Lifeson, like many guitarists in the late 1980s, experimented with processors that reduced his instrument to echoey chord bursts and razor-thin leads. Hold Your Fire represents both a modest extension of the guitar stylings found on Power Windows, and, according to Allmusic critic Eduardo Rivadavia, the culmination of this era of Rush.[35] Whereas the previous five Rush albums sold platinum or better, Hold Your Fire only went gold in November 1987, although it managed to peak at number 13 on the Billboard 200.[36]
A third live album and video, A Show of Hands (1989), was also released by Mercury following the Power Windows and Hold Your Fire tours, demonstrating the aspects of Rush in the '80s. A Show of Hands met with strong fan approval, but Rolling Stone critic Michael Azerrad dismissed it as "musical muscle" with 1.5 stars, claiming Rush fans viewed their favourite power trio as "the holy trinity".[37] Nevertheless, A Show of Hands managed to surpass the gold album mark, reaching number 21 on the Billboard 200.[38] At this point, the group decided to change record labels from Mercury to Atlantic. After Rush's departure in 1989, Mercury released a double platinum two-volume compilation of their Rush catalogue, Chronicles (1990).[39]
[edit] Returning to their roots (1989–1997) "Dreamline" (1991)
Sample of "Dreamline" from the album Roll the Bones. This song is notable for demonstrating the band's return to a more standard three piece instrument style, where synthesizers are used more sparingly and the guitar returning to the forefront of the sound.
--------------------------------------------------------------------------------
Problems listening to this file? See media help.
Rush started to deviate from their 1980s style with the albums Presto and Roll the Bones. Produced by record engineer and musician Rupert Hine, these two albums saw Rush shedding much of their keyboard-saturated sound. Beginning with 1989's Presto, the band opted for arrangements that were notably more guitar-centric than the previous two studio albums. Although synthesizers were still used in many songs, the instrument was no longer featured as the centerpiece of Rush's compositions. Continuing this trend, 1991's Roll the Bones extended the use of the standard three-instrument approach with even less focus on synthesizers than its predecessor. While musically these albums do not deviate significantly from a general pop-rock sound, Rush incorporated traces of other musical styles. "Roll the Bones", for instance, exhibits funk and hip hop elements, and the instrumental track "Where's My Thing?" features several jazz components.[40] This return to three-piece instrumentation helped pave the way for future albums in the mid-90s, which would adopt a more straightforward rock formula.
The transition from synthesizers to more guitar-oriented and organic instrumentation continued with the 1993 album Counterparts[41] and its follow-up, 1996's Test for Echo, again both produced in collaboration with Peter Collins. Musically, Counterparts[41] and Test For Echo are two of Rush's most guitar-driven albums. Although the music in general did not meet the criteria for progressive rock, some songs adopted a dynamic format.[42] For instance, "Time and Motion" possesses multiple time signature changes and organ usage, while the instrumental track "Limbo", consists of multiple musical passages. Musically, Test For Echo still retained much of the hard rock/alternative style already charted on the previous record with Lifeson and Lee's playing remaining more or less unchanged; however, a distinct modification in technique became apparent in Peart's playing from his jazz and swing training under the tutelage of jazz instructor Freddie Gruber during the interim between Counterparts and Test For Echo.[43] In October 1996, in support of Test For Echo, the band embarked on a North American tour, the band's first without an opening act and dubbed "An Evening with Rush". The tour was broken up into two segments spanning October through December 1996 and May through July 1997 with the band taking a respite between tour legs.
[edit] Hiatus and comeback (1997–2005)After wrapping up the tour promoting Test for Echo in 1997, the band entered a five-year hiatus mainly because of personal tragedies in Peart's life. Peart's daughter Selena died in an automobile accident in August 1997, followed by his wife Jacqueline's death from cancer in June 1998. Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). At some point in his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey. In this book he writes of how he had told his bandmates at Selena's funeral, "consider me retired."[44] On November 10, 1998 a triple CD live album entitled Different Stages was released, dedicated to the memory of Selena and Jacqueline. Mixed by producer Paul Northfield and engineered by Terry Brown, it contained three discs packed with recorded performances from the band's Counterparts, Test For Echo, and A Farewell to Kings tours, marking the fourth officially released live album by the band.
"One Little Victory" (2002)
Sample of "One Little Victory" from the album Vapor Trails. This song's rapid tempo and heavy double bass drumming was done intentionally in order to herald the comeback of the band after their hiatus.
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After a time to grieve and reassemble the pieces of his life, and while visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, Peart was introduced to his future wife, photographer Carrie Nuttall. Peart married Nuttall on September 9, 2000. In early 2001 he announced to his band mates that he was ready to once again enter the studio and get back into the business of making music. With the help of producer Paul Northfield the band returned in May 2002 with Vapor Trails, written and recorded in Toronto. To herald the band's comeback, the single and lead track from the album, "One Little Victory" was designed to grab the attention of listeners with its rapid guitar and drum tempos.[45] Vapor Trails marked the first studio recording not to include a single synthesizer, organ or keyboard part since the early 1970s. While the album is almost completely guitar-driven, it is mostly devoid of any conventional sounding guitar solos, a conscious decision made by Lifeson during the writing process. According to the band, the entire developmental process for Vapor Trails was extremely taxing and took approximately 14 months to finish, by far the longest the band had ever spent writing and recording a studio album.[45] The album was supported by the band's first tour in six years, including first-ever concerts in Mexico City and Brazil, where they played to some of the largest crowds of their career.
A triple CD live album and dual Rush in Rio DVD was released in late October 2003 featuring an entire concert performance recorded on the last night of their Vapor Trails Tour, November 23, 2002, at Maracanã Stadium in Rio de Janeiro, Brazil. To celebrate their 30th anniversary, June 2004 saw the release of Feedback, a studio EP recorded in suburban Toronto featuring eight covers of such artists as Cream, The Who and The Yardbirds, bands that the members of Rush cite as inspiration around the time of their inception.[46] Also in the summer of 2004, Rush hit the road again for their 30th Anniversary Tour, playing dates in the United States, Canada, the United Kingdom, Germany, Italy, Sweden, the Czech Republic, and the Netherlands. On September 24, 2004 a Frankfurt, Germany concert was recorded at The Festhalle for DVD (titled R30: Live in Frankfurt), which was released November 22, 2005; a complete version of the R30 Frankfurt set (the original DVD release omitted eight songs) was released on Blu-ray on December 8, 2009.[47]
[edit] Snakes & Arrows (2006–2009)Main articles: Snakes & Arrows and Snakes & Arrows Tour
During promotional interviews for the R30 Live In Frankfurt DVD, the band revealed their intention to begin writing new material in early 2006. While in Toronto, Lifeson and Lee began the songwriting process in January 2006. During this time, Peart simultaneously assumed his role of lyric writing while residing in Southern California. The following September, Rush chose to hire American producer Nick Raskulinecz to co-produce the album. The band officially entered Allaire Studios, in Shokan, New York in November 2006 in order to record the bulk of the material. Taking the band five weeks, the sessions ended in December. On February 14, 2007, an announcement was made on the official Rush web site that the title of the new album would be Snakes & Arrows. The first single, entitled "Far Cry", was released to North American radio stations on March 12, 2007 and reached #2 on the Mediabase Mainstream and Radio and Records Charts.[48]
"Far Cry" (2007)
Sample of "Far Cry", first single from the album Snakes & Arrows.
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The Rush website, newly redesigned on March 12 to support the new album, also announced that the band would embark on a tour to begin in the summer. Snakes & Arrows was released May 1, 2007 in North America, where it debuted at #3 in the Billboard 200 with approximately 93,000 units sold in its first week.[49] It would go on to sell an estimated 611,000 copies worldwide. To coincide with the Atlantic ocean hurricane season, "Spindrift" was released as the official second radio single on June 1, 2007, whereas "The Larger Bowl (A Pantoum)" saw single status on June 25, 2007. "The Larger Bowl" positioned within the top 20 of the Mainstream Rock and Media Base Mainstream charts, however, "Spindrift" failed to appear on any commercial chart.[50] The planned intercontinental tour in support of Snakes & Arrows began on June 13, 2007 in Atlanta, Georgia, coming to a close on October 29, 2007 at Hartwall Arena in Helsinki, Finland.[51]
The 2008 portion of the tour started on April 11, 2008 in San Juan, Puerto Rico at José Miguel Agrelot Coliseum and culminated on July 24, 2008 in Noblesville, Indiana at the Verizon Wireless Music Center.[52] On April 15, the band released Snakes & Arrows Live, a double live album documenting the first leg of the tour.[53] Those same performances featured on Snakes & Arrows Live filmed at the Ahoy arena in Rotterdam, Netherlands on October 16 and 17 of 2007 were released November 24 as a DVD and Blu-Ray set. The video also includes footage from the 2008 portion of the tour, recorded at Verizon Wireless Amphitheater in Atlanta.[54][55][56]
As the band neared the conclusion of their Snakes & Arrows tour, they announced their first appearance on American television in over 30 years. Rush was interviewed by Stephen Colbert and they performed "Tom Sawyer" on The Colbert Report on July 16, 2008.[57] Continuing to ride what one movie reviewer has called a "pop cultural wave," they also appeared at a live show in April 2009 for the comedy film I Love You, Man.[58]
[edit] Clockwork Angels and Time Machine Tour (2009–present)On February 16, 2009, Lifeson remarked that the band may begin working on a new album in the Fall 2009 with Nick Raskulinecz once again producing.[59] On March 19, 2010, the CBC posted a video interview with Lee and Lifeson where they discussed Rush's induction into the Canadian Songwriters Hall of Fame on March 28, 2010 at the Toronto Centre for the Arts' George Weston Recital Hall. The band was recognized for the songs "Limelight", "Closer to the Heart", "The Spirit of Radio", "Tom Sawyer" and "Subdivisions". In addition to discussing their induction, Lee and Lifeson touched on future material. During the interview, Lee was quoted as saying "... Just about a month and a half ago we had no songs. And now we've been writing and now we've got about 6 songs that we just love...".[60] On March 26, 2010, in an interview with The Globe and Mail, Lifeson reconfirmed that the band had already written a half-dozen songs and that there was the potential for two supporting tours, one planned for Summer 2010 and a more extensive tour planned for Summer 2011. While still uncertain of exactly how and when the new material would be released, he projected a tentative Spring 2011 release date.[61] Soon after, Peart confirmed that American producer Nick Raskulinecz had returned as co-producer.[62]
On April 8, 2010 both the official Rush website and PR Newswire announced that the band would embark on the Rush Time Machine Tour. The first leg of the tour began on June 29 in Albuquerque, New Mexico and finished October 17 in Santiago, Chile at the National stadium. It featured the album Moving Pictures played in its entirety, as well as the single "Caravan" and its B-side "BU2B". These songs will be featured on the band's upcoming studio album, Clockwork Angels.[63] The "Caravan" single was announced May 25, 2010 and was released June 1 to radio stations and made available for digital download.[64] It was suggested that Rush would return to the studio after the completion of the Time Machine Tour with plans to release Clockwork Angels in 2011.[65] However, Rush confirmed on November 19, 2010 that they will be extending the Time Machine Tour for a second leg. They are scheduled to play Europe in spring 2011 and return to North America for dates between March and July.[66]
On April 24, 2010, the documentary Rush: Beyond the Lighted Stage directed by Sam Dunn premiered at the Tribeca Film Festival. It went on to receive the Tribeca Film Festival Audience Award.[67] The band's music was featured in the 2010 documentary Jews and Baseball: An American Love Story, narrated by Academy Award winner Dustin Hoffman.[68][69]
On June 25, 2010, Rush received a star on the Hollywood Walk of Fame, located at 6752 Hollywood Boulevard. Critical acclaim continued to mount for Rush in 2010 when, on September 28, Classic Rock magazine announced Rush would be this year's Living Legends awarded at the Marshall Classic Rock Roll of Honour Awards in the UK.[70] The award was presented November 10, 2010. On September 29, Billboard.com announced that Rush would also receive the 2010 Legends of Live award for significant and lasting contributions to live music and the art of performing live and reaching fans through the concert experience.[71] The award was presented at the Billboard Touring Awards on November 4, 2010.0 commentsFebruary 20th, 2011
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Benbenh commented on smoothdale's picture
@smoothdale no not sex for money. Go walk up on a stage and try to be sexy (it's hard cuz I'm not even the least bit cute) and if I did well I get paid.
I'm kidding about performing. That's the joke between me and my pimp. But I do actually get paid for "performing"51 commentsApril 1st, 2011
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BlakeDiton commented on BlakeDiton's picture
@nadeynOoo yeah, aww that's cool. Next year, at college, I'm doing a level 3 performing arts diploma, i just saw that you're doing a level 3 performing arts course too :D im not sure if mine's a btec diploma, or just a diploma :S haha xx
19 commentsApril 21st, 2011
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Keirren commented on Keirren's picture
No it is performing arts, so performing usesing the skills needed to put on a good show using dance singing drama and art so .... art would be set building and makeup designs and costume @Piece_Of_Mind
12 commentsApril 25th, 2011