Best Job Salary, Centrum Jobs, Applicsetsigngmail.com review: they are all fraud 154

buti nalng d p ako nkapagpdala ng pera I am about to do that..Thanks...

@mitchxieko pano mu nalaman na SCAM cla?... tnk God!
muntikan na din kami...

Thanks for the info, i was also getting skeptic about them. I'm thinking offers without interview? somethings fishy, buti na lang naresearch ko to, thanks sa postings nyo. Your right 32 euro is not big pero still its money you've worked for. By the way guys according to Ireland Embassy in Manila, Ireland is on recession at the moment so work must be filled by their nationals first. Don't be deceived. God Bless everyone.

tama! lhat ay puro kasinungalingan pro sino ba nman ang mgaakala na panloloko lng pla ang lhat lhat ng mga ito?! hnd lng sa pinas sila may naloko pati nrin sa ibang sulok ng bansa din! uu huli ng lahat pra malaman na puro peke pla pati ang mga nsa likod nito pro wla tayo magagawa dhil ngyari na ang mabuting gawin ay ipagdasal nlng ntin sa sanay matapos at mahuli ng mga nsa likod nito at hnd man sila mahuli ng batas ng tao sa batas ng panginoon hnd at wla prin silang ligtas kahit ano pang gwin nla. nkakalungkot lng nkakadismaya lalu sa mga taong nais mangibang bansa at may mga pangarap pro mas mabui nrin ito kesa yong nandun na tayo sa bansa at hnd maganda ang daratnan mas mahirap un mabuti ung dito plang nalaman na agad ntin! sa mga gaya nmin idasal nlng ntin ang ngyari na mkrecover tayo sa at sna managot ng mga nasa likod ng SCAM na ito!

tnx sa inyong lahat buti nlng ngsearch me...galing tlga nila very scripted sila...bilis mag type..hehehhe

i was also doubtful! Good --You have confirmed my doubts.

oh''NO! are you sure na fake? nakapag bigay na ako ng almost 2, 250 ang nagastos ko lahat'' kasi baka sakali ng magandang trbaho sa europe, , please reply naman pano nyo na confirm na fake?

eh magkano nagastos mo sa pagpapadala ng application mo sa ireland?

nanghihinayang nga ako kahit 2, 257 nagastos ko eh'sabi kasi nila yun lang gastos pero need pa pala ipadala mismo yung papers laking gastos pa nun eh, ,

ano ba facebook mo ate?para madali kitang ma contact?

hello guys! muntik na rin akong nabiktima last year sa mga walang magawang mga scammers na yun kundi ang manloko para mgkapera..nasisilaw kac tau sa malaking offer na salary, kya nga bestjobsalary name ng website nila.. i was about to borrow money from my brother to send to them immediately kac ibibigay daw nila ang slot sa iba kung di ako makapagpadala agad ng pambayad, buti nlang mabusisi tong bro ko..niresearch nya sa google at un nga cnabi nya na scam daw ito. puro reklamo daw ang mababasa mo dun...kya hindi gaanong malaki ang hinihingi nila kac para di tau magduda na scam, nkachat ko ung isa sa knila, sabi di daw nila sisirain ang reputation nila dahil lng sa maliit na halaga..napaicp ako, maliit nga lang talaga pero marami nman, eh kung ipunin un lahat? malaking halaga na rin... THANKS GOD AT DI NYA AKO PINABAYAAN, DI NYA AKO HINAYAAN NA MHULOG SA BITAG NILA..SA MATATAMIS NILANG DILA.. MGA PRFESSIONAL SCAMMERS TALAGA!

Oh dear! Muntik na rin ako ngayon lang. bestjobsalary pero ginamit nila is eurorekruitment parang ganyan, nagtaka naman ako ang laki ng salary sa Ireland, eh nung nagwork ako sa UK sobrang dami ng overtime ko pero d ako umabot ni minsan ng mahigit 2thousand pounds in just 1month, tapos ang bilis ng job offer, libre pa daw pamasahe at bahay. Niresearch ko ung ibang email add na binigay nila wala ako mahanap na negative na comments eh laging 1 positive comment lang LOL baka pati ung comment na yun kakuntsaba pa nila. At grabeh ha kaya pala western union gusto nila para dating agad buti na lang sinabe ko na malayo ako sa western union kaya online na lang pero ang bilis ng reply at sabe i credit card ko na lang daw. Buti na lang nakita ko tong mga comments na to at nacancel ko agad ang transaction kundi nasayang sana 2k ko! sayang din yun noh madame na ako mabibili dito sa pinas nun..thanks guys

nagpadala po ako ng pera 2100 sa taga bulgaria via western union...mron po clang yahoo messenger na EUATLINE at inforoom sa ym pakiadd nlng...nakikipag transact parin ako until now..pero alam ko na pong scam lng po to...its okay small money long nwala skin..

beware nlng po sa mga email adds na to..
papercenter@gmail.com-dito po ako nagpadala ng pera 32uero-2100...bulgaria europe ko pinadala...
land@ecmaximum.com-eto ung unang nakiusap skin na sa sweden ako magwowork as healthcare assistant..
binigyan na ako ng cv..working permit, , at employment bureua working index, ,

i this for real? kakaemail lng nila sa'kin.. kakatakot nman:(

1.We are pleased to welcome you to our job intermediary services. We would like to give you detailed preliminary information about our service.Click the following link to access information about us and our service:
http://ecjobboerse.com/letter/max.html
Yours sincerely:
The Management team
2.Dear Applicant, We would like to confirm that there is an employer interested in your application. The employers Human Resource department is presently preparing a set of questions for you to answer. We shall forward the questions to you within 2 days as soon as we receive them from your perspective employer.We would like to ask you to follow at your email carefully and daily for this important email containing the questions of your employer to you.Please do not hesitate to contact us in case you have further concerns.
Yours sincerely: The Management teamWe are still working on your job application and the developments so far can be characterized as positive.

It will be a great asset if you have a letter of recommendation that we can use in our job placement work in your case.

In case you have a letter of recommendation, regardless if it is issued by a former or current employer, please scan it and email it to us. It is also acceptable to ask a friend, relative or neighbor to compose such letter of recommendation for you. Put a subject Letter of Recommendation to that email.

There is a great possibility that the employer checks the validity of your letter of recommendation - simply the practice in Europe is such.
In case you do not have letter of recommendation, inform us immediately. For quicker email processing, put subject No letter of recommendation to your email. We will advise you what is best to be done in that case in order to pursue the application further.

Yours sincerely,

The Management team

3.Respected Applicant,
We would like to once again confirm that we are working intensively on your job application and we are seeking the most efficient way to emphasize your work potential and enhance your application, leading it to the best.
We managed to coordinate with the HR department and to come up with a suitable, practical and efficient way to get more information about your work potential, that will allow us to continue handle your case further. We may refer to it as a written interview. It is a set of questions that you would have been asked during normal live interview. Now you have the advantage to answer to these questions at your own pace and taking as much time to think over your answers as you may need. This would of course, allow you to put your application in the most positive and beneficial standing.
Answer to the questions by typing the question number and your answer next to it.
Email to us the answers in order to enable us to proceed further working on your application.
It is entirely to your interest and benefit to email us your answers as soon as possible.
Find the questions as follows:
1. Your full names:
2. Nationality:
3. Your present address:
4. Can you give me five words that best describe you?
5. Describe your present / last job and your main tasks there in 5 brief sentences.
6. Provide three of the disadvantages of your present / last job?
7. How would you describe the ideal working environment?
8. Do you always do your best to contribute to the goals of your employer?
9. Can you work in a team?
10. Do you handle pressure well?
11. Are you ready to work overtime ?
12. What is your philosophy towards work?
13. What irritates you about co-workers?
14. What are you looking for in a job?
15.Would you like to re-locate to Europe?
167.In case, your answers are satisfactory and it is estimated that you have potential for the job, are you ready to prepare all requirements in a timely manner?
In case you have any further questions, feel welcome to contact us online at YAHOO-messenger: EUATLINE
4.Upon discussions with the HR representative authorized by us and your employer, we formulated a set of questions for you. They might be considered as a written interview giving benefit to the fact that you will have enough time to think over your answers and carefully give answer and explanations to each question. It compensates the spoken interview to the full extent and is considered equally and even more beneficial for you as an international applicant. Your answers might allow us to step further in the process and confirm with certainty that an employer is interested in your application.
We also provide a link to for submission of your personal details which will complete your profile with us, regarding your work experience, education, qualifications, etc.
5.We are still working on your job application and the developments so far can be characterized as positive.

It will be a great asset if you have a letter of recommendation that we can use in our job placement work in your case.

In case you have a letter of recommendation, regardless if it is issued by a former or current employer, please scan it and email it to us. It is also acceptable to ask a friend, relative or neighbor to compose such letter of recommendation for you. Put a subject Letter of Recommendation to that email.

There is a great possibility that the employer checks the validity of your letter of recommendation - simply the practice in Europe is such.
In case you do not have letter of recommendation, inform us immediately. For quicker email processing, put subject No letter of recommendation to your email. We will advise you what is best to be done in that case in order to pursue the application further.

Yours sincerely,

The Management team

ayan po mga email sakin ng land@ecmaximum.com- ETO PO ANG YM NILA-->>(eautline)
eto po ung isa papercenter@gmail.com-(inforom) Second company: indexempl@easy.com
dito po ako nagpadala ng pera MTCN: [protected]
AMOUNT: P2, 100 PHILIPPINES PESO
RECIEVER: ANNKA HRI YAHEWA from BULGARIA EUROPE
INGAT PO TAUNG WAG MAGPAPADALA BASTA NG PERA//MAGHANAP NLNG NG TRABAHONG PINAGHIRAPAN MO..

BEST JOB SALARY SUCKS!

ETO ANG EMAIL PA SAKIN, Dear Job Seeker,
As a result of our efforts so far we managed to find an employer in the Sweden interested in your case and willing to receive your application in order to potentially take the job application process to a further point.
The employer specified the type of requirements they would expect to receive from you and it is your responsibility to secure it.
The most important item that you need to obtain and present to your perspective employer is the employment bureau enrollment index. We need to emphasize that your documents WILL NOT be accepted or processed further if they do not contain the employment bureau enrollment index.

Generally, the requirements can be classified as follows:
employment bureau enrollment index – this is your first priority
standard application documents
Further down, we enclose the email addresses of companies, which have been used by our applicants previously whenever employment bureau enrollment index has been required.
YOUR first and immediate priority now is to send an email message to each of these companies and urgently request the employment bureau enrollment index.
- First company – we learnt about this company from previous applicants who happen to be your countrymates as well. We would recommend that you write to that company first and right away. Their email is: paperscenter@gmail.com
- Second company: indexempl@easy.com

If you are not sure how to request it, you may use the following sample text:
Subject: need of IMMEDIATE employment bureau enrollment index

Dear Employment Bureau,
My name is … (put your name). I have a perspective employer interested in my application. I must prepare my documents as soon as possible in accordance with the European standards. The main requirement of my future employer is for me to obtain and have employment bureau enrollment index. I hope I can obtain this index with your help. I would appreciate it if you can respond to my email immediately.

We hope that this way you will be enrolled in the employment bureau successfully and quickly.
If you experience difficulties preparing the requirements, please, inform us immediatelly via e-mail to land@ecmaximum.com In this case, put a subject "HELP ME" to your e-mail. You may also contact us online at Yahoo-Messenger: EUATLINE

Bear in mind that your application is bound to a very limited deadline and if you plan to pursue it, you would need to secure all requirements within the deadline. In order to get details of your deadline, please contact us either through email or at our yahoo messenger chat line.

After we receive your fully prepared documents – we will review them once again. The documents should be sent to land@ecmaximum.com, as attachments. Please, put 'Complete Requirements' as a subject of the e-mail. If the documents are complete and in due order we will enclose the address of the employer and we will send you back the documents. Paper copy of the documents needs to be sent to the employer. For the purpose you will need to print them on high-quality paper and send them to the employer via post.

* * *

We would like to remind you that the plane tickets are normally paid by the employer. As our organisation has the opportunity to welcome you to Europe, our representative will meet you at the airport upon your potential arrival.

We wish you to reach this stage successfully and we would help you all the way with advice and guidance!

Please do not hesitate to contact us in case you have questions or experience difficulties about the requirements. Email to us or chat with us at YAHOO-messenger: EUATLINE

yours sincerely,
The Management team

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship knowing, better than any other contemporary illustrator, that it is "our friends who make our world."Other Book in the Series:Words to Live By (Spring 1999)Words for Mothers to Live By (Spring 2000)

Mary Engelbreit knows that life truly has no greater blessing than a good friend. In the third book in this new quote-book series, Mary looks at the subject of friendship, collecting pearls of wisdom from scripture, literature, and folklore. Along with these immortal words of others, you'll find Mary's most famous friendship illustrations. With such classic drawings such as "We Have Been Friends Together in Sunshine and in Shade, " and Longfellow's "Ah! How Good It Feels, the Hand of an Old Friend, " Mary Engelbreit captures the essence of friendship

Hi

How can you say it's a scam po?After you paid, di na po ba nila kayo nakontak? As in wala na lang yung binayad? Cause they emailed me few days ago. At wala bang office sila dito sa Manila to meet you in person, as in email nga lang talaga?

Thanks po.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read. Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, which culminates with the opening of her New York City restaurant, Prune, is Hamilton's slow simmering passion for cooking and the comfort it can bring. "To be picked up and fed, often by strangers, when you are in that state of fear and hunger, became the single most important food experience I came back to over and over, " Hamilton writes, and it's this poignant understanding of the link between food and kindness that makes Blood, Bones & Butter so satisfying to read.

Gabrielle Hamilton's memoir, Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef, is just what a chef's story should be--delectable, dripping with flavor, tinged with adrenaline and years of too-little sleep. What sets Hamilton apart, though, is her ability to write with as much grace as vitriol, a distinct tenderness marbling her meaty story. Hamilton spent her idyllic childhood on a wild farm in rural Pennsylvania with an exhilarant father--an artist and set builder--and French mother, both "incredibly special and outrageously handsome." As she entered her teens, however, her family unexpectedly dissolved. She moved to New York City at 16, living off loose change and eating ketchup packets from McDonald’s; worked 20-hour days at a soulless catering company; traveled, often half-starved, through Europe; and cooked cooked for allergy-riddled children at a summer camp. The constant thread running through this patchwork tale, wh

Im so dissapointed, ganyan din ang mga e-mail nila sakin... so it means na scam lang yun... buti nalang nabuksan ko kagad tong website na to... thank for the info...

Hey, why do you say that? Why a scam? They are helping me and I am so pleased. I finally find someone who is really assisting. land@ecmaximum.com are just great and everything happens so fast. They did all they promised and the employer processed my work permit to enable my legal employment. Now I am able to communicate with him and he will even assist me take my family with me. All I can say is that this recruiter is helping me fulfil my dream when I need a job badly. Thanks to the paper ceter also who helped me meet the deadline for the documents before. Guys you are awesome. Keep it up!

@ rld_ban>>>they only proccesed... the question is? are you and your family really go to Europe? I am just wondering coz the e-mail to other applicant is the same as mine? ganon ba talaga sila? if ever na nakaalis ka na and sureness talaga na my employer kana saka na lang ako maniniwala...

I have the work permit and know the employer. All I need is the visa and I am confident in my future success. Even if the applications does not go well this won’t be a result of a scam but a result of some unpredictable circumstances. So please wish me luck! By the way I got the same letters and find them all helpful. This is my first time to apply abroad and reading these letters I got full picture of the process. It is hard to decide to apply or not and you have to make your choice by yourself. I just think that the least I could do is to say that I wasn’t scamed by this company and I can only be grateful for their kind assistnace. This is from me. Wish you find a job and get good money. Bye

@ ELD_BAN - Hello, you said you got your work permit and know the employer? do you have an E-mail address or maybe a Facebook or YM account? I would like to ask some questions regarding the application. or maybe you can drop me a message or two at (enzo_makati@yahoo.com)

@ RED 1987 - Hi, What do you mean by what you said? - "binigyan na ako ng cv..working permit, , at employment bureau working index, " if that is so, then legit yung e-mail addresses na nandito.you just have to go to the Embassy get your Visa. Guys, feel free to add me up on FB or E-mail me. We should brainstorm this Abroad thinggy...

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities through smart, fun, and timely editorial content, as well as compelling photographs and design. Each issue features an award-winning blend of celebrity and newsmaker profiles, service journalism, and authoritative articles on dining, fashion, home design, and travel. As Orange County¹s only paid subscription lifestyle magazine with circulation figures guaranteed by the Audit Bureau of Circulation, Orange Coast is the definitive guidebook into the county¹s luxe lifestyle.

Orange Coast Magazine is the oldest continuously published lifestyle magazine in the region, bringing together Orange County¹s most affluent coastal communities thr

GUYS ITO ANG E-MAIL NILA SAKIN... PAREHAS LNG DIN NG E-MAIL SA IBA?WHAT DO YOU THINK? 22O B CLA O HINDI?

Dear Job Seeker,
Based on our current efforts we located an employing company in Sweden that wants to have your papers and possibly proceed on your hiring process.
They listed the requirements they need to get from you. It is your responsibility to secure ALL of them. When applying for this job in Sweden, you will need to send in:
1/ your individual worker enrollment index
2/ CV Swedish format
3/ work permit Swedish format
4/ cover letter Swedish format
The most important requirement out of these is your own worker enrollment index. This index is personal and individual for each jobseeker. You cannot use the index of another jobseeker and you cannot start work without it.
You would have to obtain it immediately because your documents ARE NOT GOING TO be admitted or processed without your own worker enrollment index.
Down in this letter, we provide the emails of companies, that helped to other users to get worker enrollment index. A fraction of these people happen to come from your country.
You must email to each of these companies and pertinently request the worker enrollment index.
The companies that can provide you with your own worker enrollment index can be rated as follows:
I. First choice company – it has been used before by other applicants who needed that index in their applications as well. It is recommended to email to them right away.
Their email is: paperscenter@gmail.com
II. Second choice - aboutempl@aol.com
Suggestion what to write to them:
Subject of your request email: “IMMEDIATE need of worker enrollment index”
I am a job seeker who has a possible employer.My name is ... . The employer wants you to secure worker enrollment index and professionally prepared CV Swedish format, work permit Swedish format form and cover letter Swedish format. You can politely ask each of these two companies to send you information about their services for securing the above listed items.
That is the quickest and lowest costing way to get your own worker enrollment index.
In case you have questions or concerns, inform us immediatelly via e-mail to land@ecmaximum.com For quicker assistance put a subject "ASSIST" to your e-mail. You may also contact us online at Yahoo-Messenger: EUATLINE
Pay attention that the job has a limited deadline. If you want to pursue it, then please take care to secure all requirements right away.
For further information email us, we would be pleased to provide answer to all your questions.
Once you email to us your completed requirements /at land@ecmaximum.com as attached files /– we will double check them. Subject your email as “Documents Secured”. Upon making sure that all requirements are present, you will be informed of the correspondence contacts of the employer. Printed version of the documents should be posted to the employer through traditional mail.

* * *

For information purposes only – the plane tickets are paid by the employing company. A person will be sent to meet you at the airport.

We are going to guide you all the way till you reach Europe!

We are ready to answer to all your concerns and questions at our email or chat line.

yours sincerely,
the job search board

Do I have to pursue the application? I really want to work abroad...

Why not? If you want to work abroad, pursue. You can gain only if you do it. If not, you have zero chance. I cant tell you what to do because I don’t know what you want. So if you really look forward to work abroad, take the chance. To me what you post is ok and the guideline is clear. The rest is up to you. If you never risk, you will never win.

More than three decades into a career that shows no signs of slowing down or letting up, AC/DC, like electricity itself, provides the world with an essential source of power and energy. Since forming in 1973, AC/DC's high voltage rock 'n' roll has flowed out into the world via consistently sold-out concert tours and global sales totaling more than 150 million albums and counting. Sony BMG Music Entertainment's #1 best-selling catalog act worldwide,
AC/DC HAS SOLD NEARLY 70 MILLION ALBUMS IN THE U.S. ALONE, MAKING AC/DC ONE OF THE FIVE TOP-SELLING BANDS IN AMERICAN MUSIC HISTORY.
One of the group's best-loved works, the enormously successful and influential "Back In Black, " has achieved RIAA "Double Diamond" status, for sales in excess of 22 million copies in the United States, and is the U.S.'s fifth largest-selling album ever.

But the roots of AC/DC lie back in Australia, and before that Glasgow, Scotland, where Angus and Malcolm Young, the musical core of the band (and still the most formidable guitar team in rock history), were born (in 1958 and 1953, respectively). In 1963, the Young family migrated to Sydney, Australia, where music would make its mark on the brothers. (As a member of the Easybeats, Angus and Malcolm's older sibling, George Young, was responsible for one of Australia's first international hits, "Friday On My Mind, " in 1966. From 1974 through 2000, George and musical collaborator, Harry Vanda, produced a number of AC/DC albums including "High Voltage, , " "T.N.T., " "Dirty Deeds Done Dirt Cheap, " "Let There Be Rock, " "If You Want Blood You've Got It, " "Powerage, " "'74 Jailbreak, " "Who Made Who, " "Blow Up Your Video, " and "Stiff Upper Lip.")

AC/DC are an Australian rock band, formed in 1973 by brothers Malcolm and Angus Young. Although the band is commonly classified as hard rock and are considered pioneers of heavy metal, [1][2] they have always classified their music as rock and roll.[3] To date they are one of the highest grossing bands of all time. AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership remained stable until bassist Mark Evans was replaced by Cliff Williams in 1978 for the album Powerage. Within months of recording the album Highway to Hell, lead singer and co-songwriter Bon Scott died on 19 February 1980, after a night of heavy alcohol consumption. The group briefly considered disbanding, but Scott's parents urged them to continue and hire a new vocalist. Ex-Geordie singer Brian Johnson was auditioned and selected to replace Scott. Later that year, the band released their highest selling album, Back in Black.
The band's next album, For Those About to Rock We Salute You, was their first album to reach number one in the United States. AC/DC declined in popularity soon after drummer Phil Rudd was fired in 1983 and was replaced by future Dio drummer Simon Wright, though the band resurged in the early 1990s with the release of The Razors Edge. Phil Rudd returned in 1994 (after Chris Slade, who was with the band from 1990–1994, was asked to leave in favour of him) and contributed to the band's 1995 album Ballbreaker. Stiff Upper Lip was released in 2000 and was well received by critics. Since then, the band has stayed the same with the 1980–1983 lineup. The band's next album, Black Ice, was released on 20 October 2008. It was their biggest hit on the charts since For Those About to Rock, reaching #1 on all the charts eventually.[4] AC/DC's newest album, Iron Man 2, soundtrack to the film, was released on 19 April 2010.
As of 2010, AC/DC have sold more than 200 million albums worldwide, [5] as of the releases of their latest albums, Black Ice and the Iron Man 2 soundtrack, including 71 million albums in the United States.[6] Back in Black has sold an estimated 49 million units worldwide, making it the highest-selling album by any band and the second-highest-selling album in history, behind Thriller by Michael Jackson.[7][8] The album has sold 22 million in the US alone, where it is the fifth-highest-selling album.[9] AC/DC ranked fourth on VH1's list of the "100 Greatest Artists of Hard Rock"[10][11] and were named the seventh "Greatest Heavy Metal Band of All Time" by MTV.[12] In 2004, AC/DC were ranked number 72 in the Rolling Stone list of the "100 Greatest Artists of All Time".[13]

Background and name
Brothers Malcolm, Angus, and George Young were born in Glasgow, Scotland, and moved to Sydney with most of their family in 1963. George was the first to learn to play the guitar. He became a member of the Easybeats, one of Australia's most successful bands of the 1960s. In 1966, they became the first local rock act to have an international hit, with the song "Friday on My Mind".[14] Malcolm followed in George's footsteps by playing with a Newcastle, New South Wales, band called the Velvet Underground (not to be confused with the New York–based Velvet Underground).[15]

The band's logo was designed in 1977 by Gerard Huerta. It first appeared on the international version of Let There Be Rock
Malcolm and Angus Young developed the idea for the band's name after their older sister, Margaret Young, saw the initials "AC/DC" on a sewing machine.[16] "AC/DC" is an abbreviation meaning "alternating current/direct current" electricity. The brothers felt that this name symbolised the band's raw energy, power-driven performances, and a love for their music.[16][17][18] "AC/DC" is pronounced one letter at a time, though the band are popularly known as "Acca Dacca" in Australia.[19][20]
[edit]Early years (the Dave Evans era, 1973–1974)
In November 1973 Malcolm and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer.[21] Pushing hard for the bands success were Australia’s legendary roady Ray Arnold and his partner Alan Kissack. The two men convinced Chequers entertainment manager Gene Pierson to let the band play at the popular Sydney nightclub on New Year's Eve, 1973.[22] The band were so loud however that management complained. Pierson however took an interest, and booked them into the Bondi Lifesaver and other venues where they further developed their stage show. The early line-up of the band changed often; Colin Burgess was the first member fired, and several bassists and drummers passed through the band during the next year.
By this time, Angus Young had adopted his characteristic school-uniform stage outfit. The idea was his sister Margaret's. Angus had tried other costumes, such as Spider-Man, Zorro, a gorilla, and a parody of Superman, named Super-Ang.[15] In fact in its early days, most members of the band dressed in some form of glam or satin outfit but this approach was abandoned when it was discovered Melbourne band Skyhooks had already adopted this approach to their stage presentation.
The Young brothers decided that Evans was not a suitable frontman for the group, because they felt he was more of a glam rocker like Gary Glitter.[23] On stage, Evans was occasionally replaced by the band's first manager, Dennis Laughlin, who was the original lead singer with Sherbet prior to Daryl Braithwaite joining the band. Evans did not get along with Laughlin, which also contributed to the band's ill feeling toward Evans.[23]
It was Gene Pierson who brokered the arrangement for Bon Scott from Fraternity to join them as lead singer. He was also instrumental in getting personal friend Ted Albert of Albert Productions to listen to AC/DC and arranged with programme manager Rod Muir of Australia’s biggest rock station 2SM to have them on the bill for one of their massive school holiday concerts back at Chequers which helped launch AC/DC's career and led to their being signed to the EMI-distributed Albert Productions label for Australia and New Zealand.
[edit]The Bon Scott era (1974–1980)
[edit]The journey begins (1974–77)
In September 1974 Ronald Belford "Bon" Scott, an experienced vocalist and friend of George Young, replaced Dave Evans. Like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood. The band had recorded only one single with Evans, "Can I Sit Next to You, Girl" / "Rockin' in the Parlour"; eventually, the song was re-recorded with Bon Scott as "Can I Sit Next to You Girl" (Track 7 on the Australian album T.N.T., and Track 6 on the international release of High Voltage).

"It's a Long Way to the Top" (1975)

The second single of High Voltage demonstrates a combination of bagpipes with more traditional rock instruments while the lyrics discuss the perils of being in a rock band.
Problems listening to this file? See media help.
By January 1975, the Australia-only album High Voltage had been recorded. It took only ten days[24] and was based on instrumental songs written by the Young brothers, with lyrics added by Scott. Within a few months, the band's line-up had stabilised, featuring Scott, the Young brothers, bassist Mark Evans and drummer Phil Rudd. Later that year they released the single "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)", which became their perennial rock anthem.[25] It was included on their second album, T.N.T., which was also released only in Australia and New Zealand. The album featured another classic song, "High Voltage".
Between 1974 and 1977, aided by regular appearances on Molly Meldrum's Countdown, the ABC’s nationally broadcast pop-music television show, AC/DC became one of the most popular and successful acts in Australia. Their performance on 3 April 1977 was their last live TV appearance for more than 20 years.[24]
[edit]International success (1976–80)

Former vocalist Bon Scott (centre) pictured with guitarist Angus Young (left) and bassist Cliff Williams (back), performing at the Ulster Hall in August 1979
In 1976, the band signed an international deal with Atlantic Records and toured extensively throughout Europe including their first UK tour with 'Sounds' Magazine called The 'Lock up your Daughters Summer Tour'. They gained invaluable experience of the stadium circuit, supporting leading hard rock acts such as Black Sabbath, Aerosmith, Kiss, Styx and Blue Oyster Cult, and co-headlined with Cheap Trick.[24]
The first AC/DC album to gain worldwide distribution was a 1976 compilation of tracks taken from the High Voltage and T.N.T. LPs. Also titled High Voltage, and released on the Atlantic Records label, the album, which has to date sold three million copies worldwide, [26] gained the band a following among the then-substantial British punk audience.[27] The track selection was heavily weighted toward the more recent T.N.T., and included only two songs from their first LP. The band's next album, Dirty Deeds Done Dirt Cheap, was released in the same year in both Australian and international versions, like its predecessor. Track listings varied worldwide, and the international version of the album also featured "Rocker" from T.N.T. The original Australian version included "Jailbreak" (now more readily available on the 1984 compilation EP '74 Jailbreak or as a live version on the 1992 Live album). Dirty Deeds was not released in the US until 1981, by which time the band were at the peak of their popularity.
Following the 1977 recording Let There Be Rock, bassist Mark Evans was sacked because of personal differences with Angus Young. He was replaced by Cliff Williams, who also provided backing vocals alongside Malcolm Young. Neither of the Young brothers has elaborated on the departure of Evans, though Richard Griffiths, the CEO of Epic Records and a booking agent for AC/DC in the mid-1970s, later commented, "You knew Mark wasn't going to last, he was just too much of a nice guy."[15]

Bronze statue of Bon Scott, unveiled in Fremantle, Western Australia, in October 2008
AC/DC were a formative influence on New Wave of British Heavy Metal bands who emerged in the late 1970s, such as Saxon and Iron Maiden, in part as a reaction to the decline of traditional early 1970s heavy metal bands. In 2007, critics noted that AC/DC, along with Thin Lizzy, UFO, Scorpions and Judas Priest, were among "the second generation of rising stars ready to step into the breach as the old guard waned."[28]
AC/DC's first American exposure was through the Michigan radio station AM 600 WTAC in 1977. The station's manager, Peter C. Cavanaugh, booked the band to play at Flint's Capitol Theater. The supporting act was MC5, who had just briefly reunited and agreed to play at the event. The band opened with their popular song "Live Wire" and closed with "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)".[29]
AC/DC came to be identified with the punk rock movement by the British press. Their reputation, however, managed to survive the punk upheavals of the late 1970s, and they maintained a cult following in the UK throughout this time.[3] Angus Young gained notoriety for mooning the audience during live performances.
The 1978 release of Powerage marked the debut of bassist Cliff Williams, and with its harder riffs, followed the blueprint set by Let There Be Rock.[30] Only one single was released for Powerage, "Rock 'n' Roll Damnation" and gave AC/DC the highest mark at the time, reaching #24. Eddie Van Halen notes this to be his favorite AC/DC record, along with Highway To Hell.[31] An appearance at the Apollo Theatre in Glasgow during the Powerage tour was recorded and released as If You Want Blood You've Got It, featuring such songs as "Whole Lotta Rosie", "Problem Child", and "Let There Be Rock", as well as lesser-known album tracks like "Riff Raff". The album was the last produced by Harry Vanda and George Young with Bon Scott on vocals and is claimed to be AC/DC's most under-rated album.[32]
The major breakthrough in the band's career came in their collaboration with producer "Mutt" Lange on a sixth album Highway to Hell, released in 1979. It became the first AC/DC LP to break into the US top 100, eventually reaching #17, [24] and it propelled AC/DC into the top ranks of hard rock acts.[3] Highway to Hell had lyrics that shifted away from flippant and comical toward more central rock themes, putting increased emphasis on backing vocals but still featured AC/DC's signature sound: loud, simple, pounding riffs and grooving backbeats.[33] The final track, "Night Prowler", has two breaths in quick succession at the start of the song, intended to create a tone of fear and loathing.[3]
[edit]Scott's death (1980)
As 1980 began, the band began work on a new album that would eventually become Back in Black, but Bon Scott would not live to see the project being finished. On 19 February 1980, Scott passed out in the car on the way back to friend Alistair Kinnear's house after a night of heavy drinking at the Music Machine club in London. Upon arrival at his home, Kinnear was unable to move Scott from the car into his home for the night, so he left him in the car overnight to sleep off the effects of the alcohol. Unable to wake Scott late the next morning, Kinnear rushed him to King's College Hospital in Camberwell, where Scott was pronounced dead on arrival. Pulmonary aspiration of vomit was the cause of Scott's death, [34] and the official cause was listed as "acute alcohol poisoning" and "death by misadventure".[35] Scott's family buried him in Fremantle, Western Australia, the area they emigrated to when he was a boy.[36]
Inconsistencies in the official accounts of Scott's death have been cited in conspiracy theories, which suggest that Scott died of a heroin overdose, or was killed by exhaust fumes redirected into the car, or that Kinnear did not exist.[35] Additionally, Scott was asthmatic, [37] and the temperature was below freezing on the morning of his death.
[edit]The Brian Johnson era (1980–present)
[edit]The rebirth (1980–83)

More than three decades into a career that shows no signs of slowing down or letting up, AC/DC, like electricity itself, provides the world with an essential source of power and energy. Since forming in 1973, AC/DC's high voltage rock 'n' roll has flowed out into the world via consistently sold-out concert tours and global sales totaling more than 150 million albums and counting. Sony BMG Music Entertainment's #1 best-selling catalog act worldwide,
AC/DC HAS SOLD NEARLY 70 MILLION ALBUMS IN THE U.S. ALONE, MAKING AC/DC ONE OF THE FIVE TOP-SELLING BANDS IN AMERICAN MUSIC HISTORY.
One of the group's best-loved works, the enormously successful and influential "Back In Black, " has achieved RIAA "Double Diamond" status, for sales in excess of 22 million copies in the United States, and is the U.S.'s fifth largest-selling album ever.

But the roots of AC/DC lie back in Australia, and before that Glasgow, Scotland, where Angus and Malcolm Young, the musical core of the band (and still the most formidable guitar team in rock history), were born (in 1958 and 1953, respectively). In 1963, the Young family migrated to Sydney, Australia, where music would make its mark on the brothers. (As a member of the Easybeats, Angus and Malcolm's older sibling, George Young, was responsible for one of Australia's first international hits, "Friday On My Mind, " in 1966. From 1974 through 2000, George and musical collaborator, Harry Vanda, produced a number of AC/DC albums including "High Voltage, , " "T.N.T., " "Dirty Deeds Done Dirt Cheap, " "Let There Be Rock, " "If You Want Blood You've Got It, " "Powerage, " "'74 Jailbreak, " "Who Made Who, " "Blow Up Your Video, " and "Stiff Upper Lip.")

AC/DC are an Australian rock band, formed in 1973 by brothers Malcolm and Angus Young. Although the band is commonly classified as hard rock and are considered pioneers of heavy metal, [1][2] they have always classified their music as rock and roll.[3] To date they are one of the highest grossing bands of all time. AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership remained stable until bassist Mark Evans was replaced by Cliff Williams in 1978 for the album Powerage. Within months of recording the album Highway to Hell, lead singer and co-songwriter Bon Scott died on 19 February 1980, after a night of heavy alcohol consumption. The group briefly considered disbanding, but Scott's parents urged them to continue and hire a new vocalist. Ex-Geordie singer Brian Johnson was auditioned and selected to replace Scott. Later that year, the band released their highest selling album, Back in Black.
The band's next album, For Those About to Rock We Salute You, was their first album to reach number one in the United States. AC/DC declined in popularity soon after drummer Phil Rudd was fired in 1983 and was replaced by future Dio drummer Simon Wright, though the band resurged in the early 1990s with the release of The Razors Edge. Phil Rudd returned in 1994 (after Chris Slade, who was with the band from 1990–1994, was asked to leave in favour of him) and contributed to the band's 1995 album Ballbreaker. Stiff Upper Lip was released in 2000 and was well received by critics. Since then, the band has stayed the same with the 1980–1983 lineup. The band's next album, Black Ice, was released on 20 October 2008. It was their biggest hit on the charts since For Those About to Rock, reaching #1 on all the charts eventually.[4] AC/DC's newest album, Iron Man 2, soundtrack to the film, was released on 19 April 2010.
As of 2010, AC/DC have sold more than 200 million albums worldwide, [5] as of the releases of their latest albums, Black Ice and the Iron Man 2 soundtrack, including 71 million albums in the United States.[6] Back in Black has sold an estimated 49 million units worldwide, making it the highest-selling album by any band and the second-highest-selling album in history, behind Thriller by Michael Jackson.[7][8] The album has sold 22 million in the US alone, where it is the fifth-highest-selling album.[9] AC/DC ranked fourth on VH1's list of the "100 Greatest Artists of Hard Rock"[10][11] and were named the seventh "Greatest Heavy Metal Band of All Time" by MTV.[12] In 2004, AC/DC were ranked number 72 in the Rolling Stone list of the "100 Greatest Artists of All Time".[13]

Background and name
Brothers Malcolm, Angus, and George Young were born in Glasgow, Scotland, and moved to Sydney with most of their family in 1963. George was the first to learn to play the guitar. He became a member of the Easybeats, one of Australia's most successful bands of the 1960s. In 1966, they became the first local rock act to have an international hit, with the song "Friday on My Mind".[14] Malcolm followed in George's footsteps by playing with a Newcastle, New South Wales, band called the Velvet Underground (not to be confused with the New York–based Velvet Underground).[15]

The band's logo was designed in 1977 by Gerard Huerta. It first appeared on the international version of Let There Be Rock
Malcolm and Angus Young developed the idea for the band's name after their older sister, Margaret Young, saw the initials "AC/DC" on a sewing machine.[16] "AC/DC" is an abbreviation meaning "alternating current/direct current" electricity. The brothers felt that this name symbolised the band's raw energy, power-driven performances, and a love for their music.[16][17][18] "AC/DC" is pronounced one letter at a time, though the band are popularly known as "Acca Dacca" in Australia.[19][20]
[edit]Early years (the Dave Evans era, 1973–1974)
In November 1973 Malcolm and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer.[21] Pushing hard for the bands success were Australia’s legendary roady Ray Arnold and his partner Alan Kissack. The two men convinced Chequers entertainment manager Gene Pierson to let the band play at the popular Sydney nightclub on New Year's Eve, 1973.[22] The band were so loud however that management complained. Pierson however took an interest, and booked them into the Bondi Lifesaver and other venues where they further developed their stage show. The early line-up of the band changed often; Colin Burgess was the first member fired, and several bassists and drummers passed through the band during the next year.
By this time, Angus Young had adopted his characteristic school-uniform stage outfit. The idea was his sister Margaret's. Angus had tried other costumes, such as Spider-Man, Zorro, a gorilla, and a parody of Superman, named Super-Ang.[15] In fact in its early days, most members of the band dressed in some form of glam or satin outfit but this approach was abandoned when it was discovered Melbourne band Skyhooks had already adopted this approach to their stage presentation.
The Young brothers decided that Evans was not a suitable frontman for the group, because they felt he was more of a glam rocker like Gary Glitter.[23] On stage, Evans was occasionally replaced by the band's first manager, Dennis Laughlin, who was the original lead singer with Sherbet prior to Daryl Braithwaite joining the band. Evans did not get along with Laughlin, which also contributed to the band's ill feeling toward Evans.[23]
It was Gene Pierson who brokered the arrangement for Bon Scott from Fraternity to join them as lead singer. He was also instrumental in getting personal friend Ted Albert of Albert Productions to listen to AC/DC and arranged with programme manager Rod Muir of Australia’s biggest rock station 2SM to have them on the bill for one of their massive school holiday concerts back at Chequers which helped launch AC/DC's career and led to their being signed to the EMI-distributed Albert Productions label for Australia and New Zealand.
[edit]The Bon Scott era (1974–1980)
[edit]The journey begins (1974–77)
In September 1974 Ronald Belford "Bon" Scott, an experienced vocalist and friend of George Young, replaced Dave Evans. Like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood. The band had recorded only one single with Evans, "Can I Sit Next to You, Girl" / "Rockin' in the Parlour"; eventually, the song was re-recorded with Bon Scott as "Can I Sit Next to You Girl" (Track 7 on the Australian album T.N.T., and Track 6 on the international release of High Voltage).

"It's a Long Way to the Top" (1975)

The second single of High Voltage demonstrates a combination of bagpipes with more traditional rock instruments while the lyrics discuss the perils of being in a rock band.
Problems listening to this file? See media help.
By January 1975, the Australia-only album High Voltage had been recorded. It took only ten days[24] and was based on instrumental songs written by the Young brothers, with lyrics added by Scott. Within a few months, the band's line-up had stabilised, featuring Scott, the Young brothers, bassist Mark Evans and drummer Phil Rudd. Later that year they released the single "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)", which became their perennial rock anthem.[25] It was included on their second album, T.N.T., which was also released only in Australia and New Zealand. The album featured another classic song, "High Voltage".
Between 1974 and 1977, aided by regular appearances on Molly Meldrum's Countdown, the ABC’s nationally broadcast pop-music television show, AC/DC became one of the most popular and successful acts in Australia. Their performance on 3 April 1977 was their last live TV appearance for more than 20 years.[24]
[edit]International success (1976–80)

Former vocalist Bon Scott (centre) pictured with guitarist Angus Young (left) and bassist Cliff Williams (back), performing at the Ulster Hall in August 1979
In 1976, the band signed an international deal with Atlantic Records and toured extensively throughout Europe including their first UK tour with 'Sounds' Magazine called The 'Lock up your Daughters Summer Tour'. They gained invaluable experience of the stadium circuit, supporting leading hard rock acts such as Black Sabbath, Aerosmith, Kiss, Styx and Blue Oyster Cult, and co-headlined with Cheap Trick.[24]
The first AC/DC album to gain worldwide distribution was a 1976 compilation of tracks taken from the High Voltage and T.N.T. LPs. Also titled High Voltage, and released on the Atlantic Records label, the album, which has to date sold three million copies worldwide, [26] gained the band a following among the then-substantial British punk audience.[27] The track selection was heavily weighted toward the more recent T.N.T., and included only two songs from their first LP. The band's next album, Dirty Deeds Done Dirt Cheap, was released in the same year in both Australian and international versions, like its predecessor. Track listings varied worldwide, and the international version of the album also featured "Rocker" from T.N.T. The original Australian version included "Jailbreak" (now more readily available on the 1984 compilation EP '74 Jailbreak or as a live version on the 1992 Live album). Dirty Deeds was not released in the US until 1981, by which time the band were at the peak of their popularity.
Following the 1977 recording Let There Be Rock, bassist Mark Evans was sacked because of personal differences with Angus Young. He was replaced by Cliff Williams, who also provided backing vocals alongside Malcolm Young. Neither of the Young brothers has elaborated on the departure of Evans, though Richard Griffiths, the CEO of Epic Records and a booking agent for AC/DC in the mid-1970s, later commented, "You knew Mark wasn't going to last, he was just too much of a nice guy."[15]

Bronze statue of Bon Scott, unveiled in Fremantle, Western Australia, in October 2008
AC/DC were a formative influence on New Wave of British Heavy Metal bands who emerged in the late 1970s, such as Saxon and Iron Maiden, in part as a reaction to the decline of traditional early 1970s heavy metal bands. In 2007, critics noted that AC/DC, along with Thin Lizzy, UFO, Scorpions and Judas Priest, were among "the second generation of rising stars ready to step into the breach as the old guard waned."[28]
AC/DC's first American exposure was through the Michigan radio station AM 600 WTAC in 1977. The station's manager, Peter C. Cavanaugh, booked the band to play at Flint's Capitol Theater. The supporting act was MC5, who had just briefly reunited and agreed to play at the event. The band opened with their popular song "Live Wire" and closed with "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)".[29]
AC/DC came to be identified with the punk rock movement by the British press. Their reputation, however, managed to survive the punk upheavals of the late 1970s, and they maintained a cult following in the UK throughout this time.[3] Angus Young gained notoriety for mooning the audience during live performances.
The 1978 release of Powerage marked the debut of bassist Cliff Williams, and with its harder riffs, followed the blueprint set by Let There Be Rock.[30] Only one single was released for Powerage, "Rock 'n' Roll Damnation" and gave AC/DC the highest mark at the time, reaching #24. Eddie Van Halen notes this to be his favorite AC/DC record, along with Highway To Hell.[31] An appearance at the Apollo Theatre in Glasgow during the Powerage tour was recorded and released as If You Want Blood You've Got It, featuring such songs as "Whole Lotta Rosie", "Problem Child", and "Let There Be Rock", as well as lesser-known album tracks like "Riff Raff". The album was the last produced by Harry Vanda and George Young with Bon Scott on vocals and is claimed to be AC/DC's most under-rated album.[32]
The major breakthrough in the band's career came in their collaboration with producer "Mutt" Lange on a sixth album Highway to Hell, released in 1979. It became the first AC/DC LP to break into the US top 100, eventually reaching #17, [24] and it propelled AC/DC into the top ranks of hard rock acts.[3] Highway to Hell had lyrics that shifted away from flippant and comical toward more central rock themes, putting increased emphasis on backing vocals but still featured AC/DC's signature sound: loud, simple, pounding riffs and grooving backbeats.[33] The final track, "Night Prowler", has two breaths in quick succession at the start of the song, intended to create a tone of fear and loathing.[3]
[edit]Scott's death (1980)
As 1980 began, the band began work on a new album that would eventually become Back in Black, but Bon Scott would not live to see the project being finished. On 19 February 1980, Scott passed out in the car on the way back to friend Alistair Kinnear's house after a night of heavy drinking at the Music Machine club in London. Upon arrival at his home, Kinnear was unable to move Scott from the car into his home for the night, so he left him in the car overnight to sleep off the effects of the alcohol. Unable to wake Scott late the next morning, Kinnear rushed him to King's College Hospital in Camberwell, where Scott was pronounced dead on arrival. Pulmonary aspiration of vomit was the cause of Scott's death, [34] and the official cause was listed as "acute alcohol poisoning" and "death by misadventure".[35] Scott's family buried him in Fremantle, Western Australia, the area they emigrated to when he was a boy.[36]
Inconsistencies in the official accounts of Scott's death have been cited in conspiracy theories, which suggest that Scott died of a heroin overdose, or was killed by exhaust fumes redirected into the car, or that Kinnear did not exist.[35] Additionally, Scott was asthmatic, [37] and the temperature was below freezing on the morning of his death.
[edit]The Brian Johnson era (1980–present)
[edit]The rebirth (1980–83)

More than three decades into a career that shows no signs of slowing down or letting up, AC/DC, like electricity itself, provides the world with an essential source of power and energy. Since forming in 1973, AC/DC's high voltage rock 'n' roll has flowed out into the world via consistently sold-out concert tours and global sales totaling more than 150 million albums and counting. Sony BMG Music Entertainment's #1 best-selling catalog act worldwide,
AC/DC HAS SOLD NEARLY 70 MILLION ALBUMS IN THE U.S. ALONE, MAKING AC/DC ONE OF THE FIVE TOP-SELLING BANDS IN AMERICAN MUSIC HISTORY.
One of the group's best-loved works, the enormously successful and influential "Back In Black, " has achieved RIAA "Double Diamond" status, for sales in excess of 22 million copies in the United States, and is the U.S.'s fifth largest-selling album ever.

But the roots of AC/DC lie back in Australia, and before that Glasgow, Scotland, where Angus and Malcolm Young, the musical core of the band (and still the most formidable guitar team in rock history), were born (in 1958 and 1953, respectively). In 1963, the Young family migrated to Sydney, Australia, where music would make its mark on the brothers. (As a member of the Easybeats, Angus and Malcolm's older sibling, George Young, was responsible for one of Australia's first international hits, "Friday On My Mind, " in 1966. From 1974 through 2000, George and musical collaborator, Harry Vanda, produced a number of AC/DC albums including "High Voltage, , " "T.N.T., " "Dirty Deeds Done Dirt Cheap, " "Let There Be Rock, " "If You Want Blood You've Got It, " "Powerage, " "'74 Jailbreak, " "Who Made Who, " "Blow Up Your Video, " and "Stiff Upper Lip.")

AC/DC are an Australian rock band, formed in 1973 by brothers Malcolm and Angus Young. Although the band is commonly classified as hard rock and are considered pioneers of heavy metal, [1][2] they have always classified their music as rock and roll.[3] To date they are one of the highest grossing bands of all time. AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership remained stable until bassist Mark Evans was replaced by Cliff Williams in 1978 for the album Powerage. Within months of recording the album Highway to Hell, lead singer and co-songwriter Bon Scott died on 19 February 1980, after a night of heavy alcohol consumption. The group briefly considered disbanding, but Scott's parents urged them to continue and hire a new vocalist. Ex-Geordie singer Brian Johnson was auditioned and selected to replace Scott. Later that year, the band released their highest selling album, Back in Black.
The band's next album, For Those About to Rock We Salute You, was their first album to reach number one in the United States. AC/DC declined in popularity soon after drummer Phil Rudd was fired in 1983 and was replaced by future Dio drummer Simon Wright, though the band resurged in the early 1990s with the release of The Razors Edge. Phil Rudd returned in 1994 (after Chris Slade, who was with the band from 1990–1994, was asked to leave in favour of him) and contributed to the band's 1995 album Ballbreaker. Stiff Upper Lip was released in 2000 and was well received by critics. Since then, the band has stayed the same with the 1980–1983 lineup. The band's next album, Black Ice, was released on 20 October 2008. It was their biggest hit on the charts since For Those About to Rock, reaching #1 on all the charts eventually.[4] AC/DC's newest album, Iron Man 2, soundtrack to the film, was released on 19 April 2010.
As of 2010, AC/DC have sold more than 200 million albums worldwide, [5] as of the releases of their latest albums, Black Ice and the Iron Man 2 soundtrack, including 71 million albums in the United States.[6] Back in Black has sold an estimated 49 million units worldwide, making it the highest-selling album by any band and the second-highest-selling album in history, behind Thriller by Michael Jackson.[7][8] The album has sold 22 million in the US alone, where it is the fifth-highest-selling album.[9] AC/DC ranked fourth on VH1's list of the "100 Greatest Artists of Hard Rock"[10][11] and were named the seventh "Greatest Heavy Metal Band of All Time" by MTV.[12] In 2004, AC/DC were ranked number 72 in the Rolling Stone list of the "100 Greatest Artists of All Time".[13]

Background and name
Brothers Malcolm, Angus, and George Young were born in Glasgow, Scotland, and moved to Sydney with most of their family in 1963. George was the first to learn to play the guitar. He became a member of the Easybeats, one of Australia's most successful bands of the 1960s. In 1966, they became the first local rock act to have an international hit, with the song "Friday on My Mind".[14] Malcolm followed in George's footsteps by playing with a Newcastle, New South Wales, band called the Velvet Underground (not to be confused with the New York–based Velvet Underground).[15]

The band's logo was designed in 1977 by Gerard Huerta. It first appeared on the international version of Let There Be Rock
Malcolm and Angus Young developed the idea for the band's name after their older sister, Margaret Young, saw the initials "AC/DC" on a sewing machine.[16] "AC/DC" is an abbreviation meaning "alternating current/direct current" electricity. The brothers felt that this name symbolised the band's raw energy, power-driven performances, and a love for their music.[16][17][18] "AC/DC" is pronounced one letter at a time, though the band are popularly known as "Acca Dacca" in Australia.[19][20]
[edit]Early years (the Dave Evans era, 1973–1974)
In November 1973 Malcolm and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer.[21] Pushing hard for the bands success were Australia’s legendary roady Ray Arnold and his partner Alan Kissack. The two men convinced Chequers entertainment manager Gene Pierson to let the band play at the popular Sydney nightclub on New Year's Eve, 1973.[22] The band were so loud however that management complained. Pierson however took an interest, and booked them into the Bondi Lifesaver and other venues where they further developed their stage show. The early line-up of the band changed often; Colin Burgess was the first member fired, and several bassists and drummers passed through the band during the next year.
By this time, Angus Young had adopted his characteristic school-uniform stage outfit. The idea was his sister Margaret's. Angus had tried other costumes, such as Spider-Man, Zorro, a gorilla, and a parody of Superman, named Super-Ang.[15] In fact in its early days, most members of the band dressed in some form of glam or satin outfit but this approach was abandoned when it was discovered Melbourne band Skyhooks had already adopted this approach to their stage presentation.
The Young brothers decided that Evans was not a suitable frontman for the group, because they felt he was more of a glam rocker like Gary Glitter.[23] On stage, Evans was occasionally replaced by the band's first manager, Dennis Laughlin, who was the original lead singer with Sherbet prior to Daryl Braithwaite joining the band. Evans did not get along with Laughlin, which also contributed to the band's ill feeling toward Evans.[23]
It was Gene Pierson who brokered the arrangement for Bon Scott from Fraternity to join them as lead singer. He was also instrumental in getting personal friend Ted Albert of Albert Productions to listen to AC/DC and arranged with programme manager Rod Muir of Australia’s biggest rock station 2SM to have them on the bill for one of their massive school holiday concerts back at Chequers which helped launch AC/DC's career and led to their being signed to the EMI-distributed Albert Productions label for Australia and New Zealand.
[edit]The Bon Scott era (1974–1980)
[edit]The journey begins (1974–77)
In September 1974 Ronald Belford "Bon" Scott, an experienced vocalist and friend of George Young, replaced Dave Evans. Like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood. The band had recorded only one single with Evans, "Can I Sit Next to You, Girl" / "Rockin' in the Parlour"; eventually, the song was re-recorded with Bon Scott as "Can I Sit Next to You Girl" (Track 7 on the Australian album T.N.T., and Track 6 on the international release of High Voltage).

"It's a Long Way to the Top" (1975)

The second single of High Voltage demonstrates a combination of bagpipes with more traditional rock instruments while the lyrics discuss the perils of being in a rock band.
Problems listening to this file? See media help.
By January 1975, the Australia-only album High Voltage had been recorded. It took only ten days[24] and was based on instrumental songs written by the Young brothers, with lyrics added by Scott. Within a few months, the band's line-up had stabilised, featuring Scott, the Young brothers, bassist Mark Evans and drummer Phil Rudd. Later that year they released the single "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)", which became their perennial rock anthem.[25] It was included on their second album, T.N.T., which was also released only in Australia and New Zealand. The album featured another classic song, "High Voltage".
Between 1974 and 1977, aided by regular appearances on Molly Meldrum's Countdown, the ABC’s nationally broadcast pop-music television show, AC/DC became one of the most popular and successful acts in Australia. Their performance on 3 April 1977 was their last live TV appearance for more than 20 years.[24]
[edit]International success (1976–80)

Former vocalist Bon Scott (centre) pictured with guitarist Angus Young (left) and bassist Cliff Williams (back), performing at the Ulster Hall in August 1979
In 1976, the band signed an international deal with Atlantic Records and toured extensively throughout Europe including their first UK tour with 'Sounds' Magazine called The 'Lock up your Daughters Summer Tour'. They gained invaluable experience of the stadium circuit, supporting leading hard rock acts such as Black Sabbath, Aerosmith, Kiss, Styx and Blue Oyster Cult, and co-headlined with Cheap Trick.[24]
The first AC/DC album to gain worldwide distribution was a 1976 compilation of tracks taken from the High Voltage and T.N.T. LPs. Also titled High Voltage, and released on the Atlantic Records label, the album, which has to date sold three million copies worldwide, [26] gained the band a following among the then-substantial British punk audience.[27] The track selection was heavily weighted toward the more recent T.N.T., and included only two songs from their first LP. The band's next album, Dirty Deeds Done Dirt Cheap, was released in the same year in both Australian and international versions, like its predecessor. Track listings varied worldwide, and the international version of the album also featured "Rocker" from T.N.T. The original Australian version included "Jailbreak" (now more readily available on the 1984 compilation EP '74 Jailbreak or as a live version on the 1992 Live album). Dirty Deeds was not released in the US until 1981, by which time the band were at the peak of their popularity.
Following the 1977 recording Let There Be Rock, bassist Mark Evans was sacked because of personal differences with Angus Young. He was replaced by Cliff Williams, who also provided backing vocals alongside Malcolm Young. Neither of the Young brothers has elaborated on the departure of Evans, though Richard Griffiths, the CEO of Epic Records and a booking agent for AC/DC in the mid-1970s, later commented, "You knew Mark wasn't going to last, he was just too much of a nice guy."[15]

Bronze statue of Bon Scott, unveiled in Fremantle, Western Australia, in October 2008
AC/DC were a formative influence on New Wave of British Heavy Metal bands who emerged in the late 1970s, such as Saxon and Iron Maiden, in part as a reaction to the decline of traditional early 1970s heavy metal bands. In 2007, critics noted that AC/DC, along with Thin Lizzy, UFO, Scorpions and Judas Priest, were among "the second generation of rising stars ready to step into the breach as the old guard waned."[28]
AC/DC's first American exposure was through the Michigan radio station AM 600 WTAC in 1977. The station's manager, Peter C. Cavanaugh, booked the band to play at Flint's Capitol Theater. The supporting act was MC5, who had just briefly reunited and agreed to play at the event. The band opened with their popular song "Live Wire" and closed with "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)".[29]
AC/DC came to be identified with the punk rock movement by the British press. Their reputation, however, managed to survive the punk upheavals of the late 1970s, and they maintained a cult following in the UK throughout this time.[3] Angus Young gained notoriety for mooning the audience during live performances.
The 1978 release of Powerage marked the debut of bassist Cliff Williams, and with its harder riffs, followed the blueprint set by Let There Be Rock.[30] Only one single was released for Powerage, "Rock 'n' Roll Damnation" and gave AC/DC the highest mark at the time, reaching #24. Eddie Van Halen notes this to be his favorite AC/DC record, along with Highway To Hell.[31] An appearance at the Apollo Theatre in Glasgow during the Powerage tour was recorded and released as If You Want Blood You've Got It, featuring such songs as "Whole Lotta Rosie", "Problem Child", and "Let There Be Rock", as well as lesser-known album tracks like "Riff Raff". The album was the last produced by Harry Vanda and George Young with Bon Scott on vocals and is claimed to be AC/DC's most under-rated album.[32]
The major breakthrough in the band's career came in their collaboration with producer "Mutt" Lange on a sixth album Highway to Hell, released in 1979. It became the first AC/DC LP to break into the US top 100, eventually reaching #17, [24] and it propelled AC/DC into the top ranks of hard rock acts.[3] Highway to Hell had lyrics that shifted away from flippant and comical toward more central rock themes, putting increased emphasis on backing vocals but still featured AC/DC's signature sound: loud, simple, pounding riffs and grooving backbeats.[33] The final track, "Night Prowler", has two breaths in quick succession at the start of the song, intended to create a tone of fear and loathing.[3]
[edit]Scott's death (1980)
As 1980 began, the band began work on a new album that would eventually become Back in Black, but Bon Scott would not live to see the project being finished. On 19 February 1980, Scott passed out in the car on the way back to friend Alistair Kinnear's house after a night of heavy drinking at the Music Machine club in London. Upon arrival at his home, Kinnear was unable to move Scott from the car into his home for the night, so he left him in the car overnight to sleep off the effects of the alcohol. Unable to wake Scott late the next morning, Kinnear rushed him to King's College Hospital in Camberwell, where Scott was pronounced dead on arrival. Pulmonary aspiration of vomit was the cause of Scott's death, [34] and the official cause was listed as "acute alcohol poisoning" and "death by misadventure".[35] Scott's family buried him in Fremantle, Western Australia, the area they emigrated to when he was a boy.[36]
Inconsistencies in the official accounts of Scott's death have been cited in conspiracy theories, which suggest that Scott died of a heroin overdose, or was killed by exhaust fumes redirected into the car, or that Kinnear did not exist.[35] Additionally, Scott was asthmatic, [37] and the temperature was below freezing on the morning of his death.
[edit]The Brian Johnson era (1980–present)
[edit]The rebirth (1980–83)

More than three decades into a career that shows no signs of slowing down or letting up, AC/DC, like electricity itself, provides the world with an essential source of power and energy. Since forming in 1973, AC/DC's high voltage rock 'n' roll has flowed out into the world via consistently sold-out concert tours and global sales totaling more than 150 million albums and counting. Sony BMG Music Entertainment's #1 best-selling catalog act worldwide,
AC/DC HAS SOLD NEARLY 70 MILLION ALBUMS IN THE U.S. ALONE, MAKING AC/DC ONE OF THE FIVE TOP-SELLING BANDS IN AMERICAN MUSIC HISTORY.
One of the group's best-loved works, the enormously successful and influential "Back In Black, " has achieved RIAA "Double Diamond" status, for sales in excess of 22 million copies in the United States, and is the U.S.'s fifth largest-selling album ever.

But the roots of AC/DC lie back in Australia, and before that Glasgow, Scotland, where Angus and Malcolm Young, the musical core of the band (and still the most formidable guitar team in rock history), were born (in 1958 and 1953, respectively). In 1963, the Young family migrated to Sydney, Australia, where music would make its mark on the brothers. (As a member of the Easybeats, Angus and Malcolm's older sibling, George Young, was responsible for one of Australia's first international hits, "Friday On My Mind, " in 1966. From 1974 through 2000, George and musical collaborator, Harry Vanda, produced a number of AC/DC albums including "High Voltage, , " "T.N.T., " "Dirty Deeds Done Dirt Cheap, " "Let There Be Rock, " "If You Want Blood You've Got It, " "Powerage, " "'74 Jailbreak, " "Who Made Who, " "Blow Up Your Video, " and "Stiff Upper Lip.")

AC/DC are an Australian rock band, formed in 1973 by brothers Malcolm and Angus Young. Although the band is commonly classified as hard rock and are considered pioneers of heavy metal, [1][2] they have always classified their music as rock and roll.[3] To date they are one of the highest grossing bands of all time. AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership remained stable until bassist Mark Evans was replaced by Cliff Williams in 1978 for the album Powerage. Within months of recording the album Highway to Hell, lead singer and co-songwriter Bon Scott died on 19 February 1980, after a night of heavy alcohol consumption. The group briefly considered disbanding, but Scott's parents urged them to continue and hire a new vocalist. Ex-Geordie singer Brian Johnson was auditioned and selected to replace Scott. Later that year, the band released their highest selling album, Back in Black.
The band's next album, For Those About to Rock We Salute You, was their first album to reach number one in the United States. AC/DC declined in popularity soon after drummer Phil Rudd was fired in 1983 and was replaced by future Dio drummer Simon Wright, though the band resurged in the early 1990s with the release of The Razors Edge. Phil Rudd returned in 1994 (after Chris Slade, who was with the band from 1990–1994, was asked to leave in favour of him) and contributed to the band's 1995 album Ballbreaker. Stiff Upper Lip was released in 2000 and was well received by critics. Since then, the band has stayed the same with the 1980–1983 lineup. The band's next album, Black Ice, was released on 20 October 2008. It was their biggest hit on the charts since For Those About to Rock, reaching #1 on all the charts eventually.[4] AC/DC's newest album, Iron Man 2, soundtrack to the film, was released on 19 April 2010.
As of 2010, AC/DC have sold more than 200 million albums worldwide, [5] as of the releases of their latest albums, Black Ice and the Iron Man 2 soundtrack, including 71 million albums in the United States.[6] Back in Black has sold an estimated 49 million units worldwide, making it the highest-selling album by any band and the second-highest-selling album in history, behind Thriller by Michael Jackson.[7][8] The album has sold 22 million in the US alone, where it is the fifth-highest-selling album.[9] AC/DC ranked fourth on VH1's list of the "100 Greatest Artists of Hard Rock"[10][11] and were named the seventh "Greatest Heavy Metal Band of All Time" by MTV.[12] In 2004, AC/DC were ranked number 72 in the Rolling Stone list of the "100 Greatest Artists of All Time".[13]

Background and name
Brothers Malcolm, Angus, and George Young were born in Glasgow, Scotland, and moved to Sydney with most of their family in 1963. George was the first to learn to play the guitar. He became a member of the Easybeats, one of Australia's most successful bands of the 1960s. In 1966, they became the first local rock act to have an international hit, with the song "Friday on My Mind".[14] Malcolm followed in George's footsteps by playing with a Newcastle, New South Wales, band called the Velvet Underground (not to be confused with the New York–based Velvet Underground).[15]

The band's logo was designed in 1977 by Gerard Huerta. It first appeared on the international version of Let There Be Rock
Malcolm and Angus Young developed the idea for the band's name after their older sister, Margaret Young, saw the initials "AC/DC" on a sewing machine.[16] "AC/DC" is an abbreviation meaning "alternating current/direct current" electricity. The brothers felt that this name symbolised the band's raw energy, power-driven performances, and a love for their music.[16][17][18] "AC/DC" is pronounced one letter at a time, though the band are popularly known as "Acca Dacca" in Australia.[19][20]
[edit]Early years (the Dave Evans era, 1973–1974)
In November 1973 Malcolm and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer.[21] Pushing hard for the bands success were Australia’s legendary roady Ray Arnold and his partner Alan Kissack. The two men convinced Chequers entertainment manager Gene Pierson to let the band play at the popular Sydney nightclub on New Year's Eve, 1973.[22] The band were so loud however that management complained. Pierson however took an interest, and booked them into the Bondi Lifesaver and other venues where they further developed their stage show. The early line-up of the band changed often; Colin Burgess was the first member fired, and several bassists and drummers passed through the band during the next year.
By this time, Angus Young had adopted his characteristic school-uniform stage outfit. The idea was his sister Margaret's. Angus had tried other costumes, such as Spider-Man, Zorro, a gorilla, and a parody of Superman, named Super-Ang.[15] In fact in its early days, most members of the band dressed in some form of glam or satin outfit but this approach was abandoned when it was discovered Melbourne band Skyhooks had already adopted this approach to their stage presentation.
The Young brothers decided that Evans was not a suitable frontman for the group, because they felt he was more of a glam rocker like Gary Glitter.[23] On stage, Evans was occasionally replaced by the band's first manager, Dennis Laughlin, who was the original lead singer with Sherbet prior to Daryl Braithwaite joining the band. Evans did not get along with Laughlin, which also contributed to the band's ill feeling toward Evans.[23]
It was Gene Pierson who brokered the arrangement for Bon Scott from Fraternity to join them as lead singer. He was also instrumental in getting personal friend Ted Albert of Albert Productions to listen to AC/DC and arranged with programme manager Rod Muir of Australia’s biggest rock station 2SM to have them on the bill for one of their massive school holiday concerts back at Chequers which helped launch AC/DC's career and led to their being signed to the EMI-distributed Albert Productions label for Australia and New Zealand.
[edit]The Bon Scott era (1974–1980)
[edit]The journey begins (1974–77)
In September 1974 Ronald Belford "Bon" Scott, an experienced vocalist and friend of George Young, replaced Dave Evans. Like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood. The band had recorded only one single with Evans, "Can I Sit Next to You, Girl" / "Rockin' in the Parlour"; eventually, the song was re-recorded with Bon Scott as "Can I Sit Next to You Girl" (Track 7 on the Australian album T.N.T., and Track 6 on the international release of High Voltage).

"It's a Long Way to the Top" (1975)

The second single of High Voltage demonstrates a combination of bagpipes with more traditional rock instruments while the lyrics discuss the perils of being in a rock band.
Problems listening to this file? See media help.
By January 1975, the Australia-only album High Voltage had been recorded. It took only ten days[24] and was based on instrumental songs written by the Young brothers, with lyrics added by Scott. Within a few months, the band's line-up had stabilised, featuring Scott, the Young brothers, bassist Mark Evans and drummer Phil Rudd. Later that year they released the single "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)", which became their perennial rock anthem.[25] It was included on their second album, T.N.T., which was also released only in Australia and New Zealand. The album featured another classic song, "High Voltage".
Between 1974 and 1977, aided by regular appearances on Molly Meldrum's Countdown, the ABC’s nationally broadcast pop-music television show, AC/DC became one of the most popular and successful acts in Australia. Their performance on 3 April 1977 was their last live TV appearance for more than 20 years.[24]
[edit]International success (1976–80)

Former vocalist Bon Scott (centre) pictured with guitarist Angus Young (left) and bassist Cliff Williams (back), performing at the Ulster Hall in August 1979
In 1976, the band signed an international deal with Atlantic Records and toured extensively throughout Europe including their first UK tour with 'Sounds' Magazine called The 'Lock up your Daughters Summer Tour'. They gained invaluable experience of the stadium circuit, supporting leading hard rock acts such as Black Sabbath, Aerosmith, Kiss, Styx and Blue Oyster Cult, and co-headlined with Cheap Trick.[24]
The first AC/DC album to gain worldwide distribution was a 1976 compilation of tracks taken from the High Voltage and T.N.T. LPs. Also titled High Voltage, and released on the Atlantic Records label, the album, which has to date sold three million copies worldwide, [26] gained the band a following among the then-substantial British punk audience.[27] The track selection was heavily weighted toward the more recent T.N.T., and included only two songs from their first LP. The band's next album, Dirty Deeds Done Dirt Cheap, was released in the same year in both Australian and international versions, like its predecessor. Track listings varied worldwide, and the international version of the album also featured "Rocker" from T.N.T. The original Australian version included "Jailbreak" (now more readily available on the 1984 compilation EP '74 Jailbreak or as a live version on the 1992 Live album). Dirty Deeds was not released in the US until 1981, by which time the band were at the peak of their popularity.
Following the 1977 recording Let There Be Rock, bassist Mark Evans was sacked because of personal differences with Angus Young. He was replaced by Cliff Williams, who also provided backing vocals alongside Malcolm Young. Neither of the Young brothers has elaborated on the departure of Evans, though Richard Griffiths, the CEO of Epic Records and a booking agent for AC/DC in the mid-1970s, later commented, "You knew Mark wasn't going to last, he was just too much of a nice guy."[15]

Bronze statue of Bon Scott, unveiled in Fremantle, Western Australia, in October 2008
AC/DC were a formative influence on New Wave of British Heavy Metal bands who emerged in the late 1970s, such as Saxon and Iron Maiden, in part as a reaction to the decline of traditional early 1970s heavy metal bands. In 2007, critics noted that AC/DC, along with Thin Lizzy, UFO, Scorpions and Judas Priest, were among "the second generation of rising stars ready to step into the breach as the old guard waned."[28]
AC/DC's first American exposure was through the Michigan radio station AM 600 WTAC in 1977. The station's manager, Peter C. Cavanaugh, booked the band to play at Flint's Capitol Theater. The supporting act was MC5, who had just briefly reunited and agreed to play at the event. The band opened with their popular song "Live Wire" and closed with "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)".[29]
AC/DC came to be identified with the punk rock movement by the British press. Their reputation, however, managed to survive the punk upheavals of the late 1970s, and they maintained a cult following in the UK throughout this time.[3] Angus Young gained notoriety for mooning the audience during live performances.
The 1978 release of Powerage marked the debut of bassist Cliff Williams, and with its harder riffs, followed the blueprint set by Let There Be Rock.[30] Only one single was released for Powerage, "Rock 'n' Roll Damnation" and gave AC/DC the highest mark at the time, reaching #24. Eddie Van Halen notes this to be his favorite AC/DC record, along with Highway To Hell.[31] An appearance at the Apollo Th

Metallica (pronounced /məˈtælɨkə/ ( listen)) is an American heavy metal band from Los Angeles, California, formed in 1981.
The band was founded when James Hetfield responded to an advertisement that drummerLars Ulrich had posted in a local newspaper. The current line-up features long-time lead guitarist Kirk Hammett (who joined the band in 1983) and bassist Robert Trujillo (a member since 2003) alongside Hetfield and Ulrich. Notable previous members of the band include former lead guitarist Dave Mustaine (who later went on to found the band Megadeth) and former bassists Ron McGovney, Cliff Burton and Jason Newsted. The band also had a long collaboration with producer Bob Rock, who produced all of the bands albums from 1990 to 2003 and served as a temporary bassist between the departure of Newsted and the hiring of Trujillo.
Metallica's early releases included fast tempos, instrumentals, and aggressive musicianship that placed the band as one of the founding "big four" of thrash metal alongside Slayer, Megadeth, and Anthrax.[1] The band earned a growing fan-base in the underground musiccommunity and critical acclaim, with its third album Master of Puppets (1986) described as one of the most influential and "heavy" thrash metal albums. Metallica achieved substantial commercial success with their eponymous fifth album (also known as The Black Album), which debuted at number one on the Billboard 200. With this release the band expanded its musical direction resulting in an album that appealed to a more mainstream audience.
In 2000, Metallica was among a number of artists who filed a lawsuit against Napster for sharing the band's copyright-protected material for free without any band member's consent.[2] A settlement was reached, and Napster became a pay-to-use service. Despite reaching number one on the Billboard 200, the release of St. Anger alienated many fans with the exclusion of guitar solos and the "steel-sounding" snare drum. A film titled Some Kind of Monster documented the recording process of St. Anger and the tensions within the band during that time.
Metallica has released nine studio albums, three live albums, two extended plays, 24 music videos, and 45 singles. The band has won nine Grammy Awards, and has had five consecutive albums debut at number one on the Billboard 200, [3] making Metallica the first band to do so; this record was later matched by the Dave Matthews Band.[4] The band's 1991 album, Metallica, has sold over 15 million copies in the United States, and 22 million copies worldwide, which makes it the 25th-best-selling album in the country.[5] In December 2009, it became the best-selling album of the SoundScan era, surpassing 1997's Come On Over by country artist Shania Twain.[6] The band has sold an estimated 100 million records worldwide as of the release of their latest album, Death Magnetic. As of December 2009, Metallica is the fourth best-selling music artist since the SoundScan era began tracking sales on May 25, 1991, selling a total of 52, 672, 000 albums in the United States alone.[7

Early years (1981–1983)
Metallica was formed in Los Angeles, California, in late 1981 when drummer Lars Ulrich placed an advertisement in a Los Angeles newspaper—The Recycler—which read "Drummer looking for other metal musicians to jam with Tygers of Pan Tang, Diamond Head and Iron Maiden."[8]Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement. Although he had not formed a band, Ulrich askedMetal Blade Records founder Brian Slagel if he could record a song for the label's upcoming compilation album Metal Massacre. Slagel accepted, and Ulrich recruited Hetfield to sing and play rhythm guitar.[8] The band was officially formed in October 1981, five months after Ulrich and Hetfield first met.[9]
Ulrich talked to his friend Ron Quintana, who was brainstorming names for a fanzine. Quintana had proposed the names MetalMania and Metallica. Ulrich used Metallica for the name of his band. A second advertisement was placed in The Recycler for a position as lead guitarist.Dave Mustaine answered, and after seeing his expensive guitar equipment, Ulrich and Hetfield recruited him. In early 1982, Metallica recorded its first original song "Hit the Lights" for the Metal Massacre I compilation. Hetfield played bass on the song and Lloyd Grant was credited with a guitar solo.[8] Released on June 14, 1982, early pressings of Metal Massacre I listed the band incorrectly as "Mettallica". Although angered by the error, Metallica managed to create enough "buzz" with the song and the band played its first live performance on March 14, 1982 at Radio City in Anaheim, California with newly recruited bassist Ron McGovney.[10] Metallica recorded its first demo, Power Metal, a name inspired by Quintana's early business cards in early 1982. In the fall of 1982, Ulrich and Hetfield attended a show at the West Hollywood nightclub Whisky a Go Go which featured bassist Cliff Burton in a band called Trauma. The two were "blown away" by Burton's use of a wah-wah pedal and asked him to join Metallica. Hetfield and Mustaine wanted McGovney out as they thought that he "didn't contribute anything, he just followed."[11] Although Burton initially declined the offer, by the end of the year he accepted on the condition the band move to El Cerrito in the San Francisco Bay Area. Metallica's first live performance with Burton was at the nightclub The Stone in March 1983, and the first recording to feature Burton was the Megaforce demo (1983).[11]
Metallica was ready to record its debut album, but when Metal Blade was unable to cover the additional cost, the band began looking for other options. Concert promoter Johny "Z" Zazula, who had heard the demo No Life 'til Leather (1982), offered to broker a record deal with Metallica and New York City-based record labels. After receiving no interest from various record labels, Zazula borrowed the money to cover the record's recording budget and signed Metallica to his own label, Megaforce Records.
Kill 'Em All and Ride the Lightning (1983–1984)
In May 1983, Metallica traveled to Rochester, New York to record its debut album, Metal Up Your ###, with production duties handled by Paul Curcio.[12] Band members decided to kick Mustaine out of the band due to drug and alcohol abuse and violent behavior just prior to the sessions on April 11, 1983.[13] Exodus guitarist Kirk Hammett flew in to replace Mustaine the same afternoon.
Mustaine, who went on to found Megadeth, has expressed his dislike for Hammett in interviews. He said Hammett "stole my job."[14]Mustaine was "pissed off" because he believes Hammett became popular by playing the guitar leads that Mustaine wrote.[15] In a 1985 interview with Metal Forces, Mustaine slammed Hammett saying, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine."[16] On Megadeth's debut album Killing Is My Business... and Business Is Good! (1985), Mustaine included the song "Mechanix", which Metallica renamed to "The Four Horsemen" on Kill 'Em All. Mustaine said he did this to "straighten Metallica up", as Metallica referred to Mustaine as a drunk and said he could not play guitar.[16]Metallica's first live performance with Hammett was on April 16, 1983 at the nightclub The Showplace in Dover, New Jersey.[11]
The band's debut album was initially to be titled Metal Up Your ###. Due to conflicts with its record label and the distributors' refusal to release an album with that name, it was renamed Kill 'Em All. Released on Megaforce Records in the United States and Music for Nations in Europe, the album reached number 120 on the Billboard 200 in 1988, [17] and although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the Kill 'Em All for One tour with Raven to support the release.[18] In February 1984, Metallica supported Venom on the Seven Dates of Hell tour, where the band performed in front of 7, 000 people at the Aardschok Festival in Zwolle, Netherlands.[19]
Metallica recorded its second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark. Released in August 1984, the album reached number 100 on the Billboard 200.[17] A French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Other songs on the album include "For Whom the Bell Tolls", "Fade to Black", "Creeping Death" (which tells the biblical story of the Hebrews' exodus from slavery in Egypt, focusing on the final plague that was visited on the Egyptians), and theinstrumental "The Call of Ktulu". Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu".[19]
Master of Puppets (1984–1986)

Metallica in 1985
Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a September 1984 Metallica concert. Impressed with what they saw, they signed Metallica to Elektra Records and made the band a client of Q-Prime Management.[20]Metallica's burgeoning success was such that the band's British label Music for Nations released a limited edition "Creeping Death" single, which sold 40, 000 copies as an import in the U.S. Two of the three songs on the record (cover versions of Diamond Head's "Am I Evil?", and Blitzkrieg's "Blitzkrieg") appeared on the 1989 Elektra reissue of Kill 'Em All.[21] Metallica embarked on its first major European tour with Tank to an average crowd of 1, 300. Returning to the U.S. marked a tour co-headlining with W.A.S.P. and Armored Saint supporting. Metallica played its largest show at the Monsters of Rock festival on August 17, 1985, with Bon Jovi and Ratt at Donington Park in England, playing in front of 70, 000 people. A show in Oakland, California, at the Day on the Greenfestival saw the band play in front of a crowd of 60, 000.[20]
Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios and was released in March 1986. The album reached number 29 on the Billboard 200, and spent 72 weeks on the chart.[22] The album was the band's first to be certified gold on November 4, 1986, and was certified six times platinum in 2003.[23] Steve Huey of Allmusic considered the album "the band's greatest achievement".[24] Following the release of the album, Metallica supported Ozzy Osbourne for a United States tour.[20] Hetfield broke his wrist skateboarding down a hill and continued the tour performing vocals, with guitar technician John Marshall playing rhythm guitar.[25]
Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]
…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights to the film. The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]
Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]
Death Magnetic (2006–2010)

Hammett performing live in 2007
In December 2006, Metallica released a DVD containing all the music videos from 1989 to 2004. The DVD, titled The Videos 1989–2004, sold 28, 000 copies in its first week, and entered theBillboard Top Videos chart at number three.[67] Metallica recorded a cover of Ennio Morricone's "The Ecstasy of Gold" for a tribute album titled We All Love Ennio Morricone, released in February 2007. The cover received a Grammy nomination at the 50th Grammy Awards for the category "Best Rock Instrumental Performance".[68] A recording of "The Ecstasy of Gold" has been played as the introduction for Metallica performances since the 1980s. However, this new version features the band itself performing the piece, giving a new guitar-based interpretation to the music.[69]
In 2006, Metallica announced on its official website that after 15 years, long-time producer Bob Rock would not be producing Metallica's next studio album. The band chose to work with producerRick Rubin, who had produced albums for bands such as Danzig, Johnny Cash, Slayer, Slipknotand System of a Down.[70] Metallica scheduled the release date for Death Magnetic as September 12, 2008, and the band filmed a music video for the album's first single "The Day That Never Comes".
On September 2, 2008, a French record store began selling copies of Death Magnetic nearly two weeks ahead of its scheduled worldwide release date, [71] which resulted in the album being made available on peer-to-peer clients. This prompted the band's United Kingdom distributor, Vertigo Records, to officially release the album two days ahead of schedule, on September 10, 2008. It is currently unconfirmed whether Metallica or Warner Bros. will be taking any action against the retailer, though drummer Lars Ulrich has made such responses to theleak as, "…We're ten days from release. I mean, from here, we're golden. If this thing leaks all over the world today or tomorrow, happy days. Happy days. Trust me, "[72] and, "By 2008 standards, that's a victory. If you'd told me six months ago that our record wouldn't leak until 10 days out, I would have signed up for that."[73]
Death Magnetic debuted at number one in the United States selling 490, 000 units with Metallica becoming the first band to have five consecutive studio albums debut at number one in the history of the Billboard 200.[74] After a week of its release, Death Magnetic remained at number one on the Billboard 200, the European album chart, and became the fastest selling album in Australia for 2008.[75]

Kirk Hammett and James Hetfield performing in London in 2008
Death Magnetic remained at number one on the Billboard 200 album chart for three consecutive weeks. Metallica was one of two artists, along with Jack Johnson with the release of the album Sleep Through the Static, to remain on the Billboard 200 for three consecutive weeks at number one in 2008. Death Magnetic had also remained at number one on Billboard's Hard Rock, Modern Rock/Alternative and Rock album charts for five consecutive weeks. Internationally, the album reached number one in 32 countries including the United Kingdom, Canada, and Australia.[76][77][78][79]
In November 2008, Metallica came to the end of its record deal with Warner Bros., and the band is now considering its options for the future and, according to Ulrich, one of the band's options is to release its next album through the internet.[80][81]
On January 14, 2009, it was announced that Metallica would be inducted into the Rock and Roll Hall of Fame on April 4, 2009, [82] and that former bassist Jason Newsted (who left the band in 2001), would perform with the band at the ceremony.[83] Initially, it was announced that the matter had been discussed, and that current bassist Trujillo had agreed not to play, as he "wanted to see the Black Album band".[84]However, during the band's set of "Master of Puppets" and "Enter Sandman", both Trujillo and Newsted were on stage.[85] Ray Burton, father of the late Cliff Burton, accepted the honor on his behalf. Metallica also invited Dave Mustaine to take part in the induction ceremony, though he declined, citing his touring commitments in Europe.[86][87][88]
In a June 2009 interview with Italy's Rock TV, Ulrich stated that Metallica plans to continue touring through August 2010, stating there are no plans for a tenth album, but is sure that they will collaborate with producer Rick Rubin again.[89] According to Blabbermouth.net, the band may start thinking about recording their next album in the second half of 2011.[90]
Metallica, along with Slayer, Megadeth, and Anthrax, performed on the same bill for the first time on June 16, 2010 at Bemowo Airport (Warsaw, Poland). It was the first performance of that bands played as a part of Sonisphere Festival series, one of the following (Sofia, Bulgaria, June 22, 2010) was sent via satellite in HD to cinemas.[91] They also went on to play in Bucharest, Romania (June 26, 2010) and then in Istanbul, Turkey (June 27, 2010) also as part of the Sonisphere Festival. On June 28, 2010, Death Magnetic was certified 2X platinum by the RIAA.[92]
The band's World Magnetic Tour ended on November 21, 2010 in Melbourne, Australia. The band had been touring for over two years in support of Death Magnetic. To go with its final tour dates in Australia and New Zealand, a live limited edition EP of past performances in Australia was released called Six Feet Down Under.[93] The EP was also followed by Six Feet Down Under (Part II), which was released on November 12, 2010.[94] Part 2 contains a further 8 songs recorded during the first two Oceanic Legs of the World Magnetic Tour.
On November 26, 2010, Metallica released another live EP, entitled Live at Grimey's, which was recorded in June 2008 at Grimey's Record Store, just prior to its appearance at Bonnaroo that year.[95][96]
New album and future (2010–present)
In a November 2010 interview with The Pulse of Radio, Ulrich stated that Metallica wants to get back to writing again for 2011. Ulrich stated: "There’s a bunch of balls in the air for 2011, but I think the main one is we really want to get back to writing again. We haven’t really written since, what, ’06, ’07, and we want to get back to kind of just being creative again. Right now we are going to just chill out and then probably start up again in, I’d say, March or April, and start probably putting the creative cap back on and start writing some songs."[97]
On November 9, 2010, Metallica announced that it will be headlining the Rock in Rio, in Rio de Janeiro, on September 25, 2011.[98][99] On December 13, 2010, the band announced that it will once again play as part of the "big four" during the Sonisphere Festival U.K., on July 8, 2011. It will be the first time all of the "big four" members play on the same stage in United Kingdom. The performance will take place inKnebworth House, Hertfordshire.[100] On December 17, 2010, Another "big four" Sonisphere performance was announced that will take place in France on July 9.[101] On January 25, 2011, another "big four" performance was announced, this time in the United States. The performance will take place on April 23, 2011 in Indio, California at the Empire Polo Club. It is the only scheduled concert in the United States, it will also be the first time all of the "big four" members play on the same stage in the United States.[102] On 17 February 2011, another show was announced in Europe. The performance will take place in Gelsenkirchen, Germany on July 2, 2011.[103] On February 22, another "big four" show was announced, also in Europe. The performance will take place in Milan, Italy on July 6, 2011.[104] On March 2, 2011, again another Big 4 show was announced. This show will take place in Sweden on July 3, 2011.[105]
Style and lyrical themes

Influenced by early heavy metal and hard rock bands such as Black Sabbath, Deep Purple, Led Zeppelin and Scorpions, [106] New Wave of British Heavy Metal bands such as Venom, Motörhead, Diamond Head, Judas Priest, and Iron Maiden, and earlypunk rock bands such as the Ramones, the Sex Pistols, and the Misfits, early Metallica releases contained fast tempos, harmonized leads, and nine-minuteinstrumentals. Steve Huey of Allmusic said that Ride the Lightning featured "extended, progressive epics; tight, concise groove-rockers".[107] Huey felt Metallica expanded its compositional technique and range of expression to take on a more aggressive approach in following releases, and lyrics dealt with more personal and socially conscious issues.[107] Lyrical themes explored on Master of Puppetsincluded religious and military leaders, rage, insanity, monsters, and drugs.[108]
In 1991, with new producer Bob Rock, Huey felt Metallica simplified and streamlined its music for a more commercial approach to appeal to the mainstream audience.[109]The band abandoned its aggressive, fast tempos to expand its music and expressiverange, said Robert Palmer of Rolling Stone.[110] The change in direction proved commercially successful as Metallica was the band's first album to peak at number one on the Billboard 200. Metallica noticed changes to the rock scene created by thegrunge movement of the early 1990s. In what has been described as "an almostalternative rock" approach, the band focused on non-metal influences and changed musical direction.[111] Moving away from lyrical themes dealing with drugs and monsters, Metallica's new lyrical approach focused on anger, loss, and retribution. Some fans and critics were not pleased with this change, which included haircuts, the cover of Load, and headlining the alternative rock concert Lollapalooza.[43] David Fricke of Rolling Stone described the move as "goodbye to the moldy stricture and dead-end Puritanism of no-frills thrash" and called Loadthe heaviest record of 1996.[43] With the release of ReLoad in 1997, the band displayed more blues and early hard rock influences, incorporating more rhythm and harmony in song structures.[111]
St. Anger marked another large change in the band's sound. Guitar solos were excluded from the album, leaving a "raw and unpolished sound".[60] The band used drop C tuning, and Ulrich's snare drum received particular criticism. New York Magazine's Ethan Brown noted it "reverberates with a thwong". Lyrics on the album dealt with Hetfield's stint in rehab, including references to the devil, anti-drug themes, claustrophobia, impending doom, and religious hypocrisy.[112][113] At the advice of producer Rick Rubin, for its ninth studio album, Death Magnetic, the band returned to E tuning (though all songs were tuned half step down live) and guitar solos, and adapted Middle Eastern influences.[114]
Legacy and influence
Metallica has become one of the most influential heavy metal bands, and is credited as one of the "big four" of thrash metal, along withSlayer, Anthrax, and Megadeth.[1] The band has sold more than 100 million records worldwide, [115] including 59 million in the United States.[116] The writers of The Rolling Stone Encyclopedia of Rock & Roll felt Metallica gave heavy metal "a much-needed charge".[117]Stephen Thomas Erlewine and Greg Prato of Allmusic said Metallica "expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions", calling the band "easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth."[109]
Jonathan Davis of Korn respects Metallica as his favorite band and comments, "I love that they've done things their own way and they've persevered over the years and they're still relevant to this day. I think they're one of the greatest bands ever."[118] Godsmack drummerShannon Larkin said Metallica has been the biggest influence on the band stating, "they really changed my life when I was 16 years old – I’d never heard anything that heavy."[119] Vocalist and guitarist Robb Flynn of Machine Head said that when creating the band's 2007 album, The Blackening, "What we mean is an album that has the power, influence and epic grandeur of that album Master of Puppets – and the staying power – a timeless record like that".[120] Trivium guitarists Corey Beaulieu and Matt Heafy said that when they heard Metallica they wanted to start playing guitar.[121][122] M Shadows of Avenged Sevenfold stated touring with Metallica was the band's career highlight, and said "Selling tons of records and playing huge shows will never compare to meeting your idols Metallica."[123] God Forbid guitarists Doc and Dallas Coylegrew up with Metallica as an inspiration, and the band's bassist John Outcalt admires Burton as a "rocker".[124] Ill Niño drummer Dave Chavarri finds early Metallica releases as "heavy, raw, rebellious. It said, '### you'", [125] and Adema drummer Kris Kohls says the band is influenced by Metallica.[126]
Kerrang! released a tribute album with the April 8, 2006, edition of the magazine, titled Master of Puppets: Remastered, which celebrated the 20-year anniversary of Master of Puppets. The album featured cover versions of Metallica songs by the bands Machine Head, Bullet for My Valentine, Chimaira, Mastodon, Mendeed, and Trivium, all who are influenced by Metallica. Over 15 Metallica tribute albums have been released. On September 10, 2006, Metallica guest starred on The Simpsons' eighteenth season premiere "The Mook, the Chef, the Wife and Her Homer", [127] and Hammett's and Hetfield's voices were used in three episodes of the animated television series Metalocalypse.[128]
The Finnish cello metal band Apocalyptica released a tribute album, Plays Metallica by Four Cellos, which featured eight Metallica songs recorded with cellos. A parody band named Beatallica plays music using a combination of The Beatles and Metallica songs. Beatallica faced legal troubles when the Sony Corporation, who own The Beatles' catalogue, ordered a cease-and-desist claiming "substantial and irreparable injury"—ordering the group to pay damages. A fan of Beatallica, Ulrich asked Metallica lawyer Peter Paterno to help settle the legal case.[129]
Metallica was ranked by MTV as the third "Greatest Heavy Metal Band in History", [118] was listed fifth on VH1's 100 Greatest Artists of Hard Rock, [130] and was number one on VH1's 20 Greatest Metal Bands list.[131] Master of Puppets was ranked number 167 on Rolling Stone'sThe 500 Greatest Albums of All Time, and Metallica was number 252.[132] Master of Puppets was named in Q Magazine's "50 Heaviest Albums of All Time", [133] ranked number one on IGN's "Top 25 Metal Albums", [134] and number one on the Metal-rules.com "Top 100 Heavy Metal Albums" list.[135] The song "Enter Sandman" was ranked number 399 on Rolling Stone's "500 Greatest Songs of All Time".[136]
On March 7, 1999, Metallica was inducted into the San Francisco Walk of Fame. The mayor of San Francisco, Willie Brown, proclaimed the day "Official Metallica Day".[137] Metallica was awarded the MTV Icon award in 2003, and a concert was held paying tribute to the band with artists performing Metallica songs. Performances included Sum 41 with a medley of "For Whom the Bell Tolls", "Enter Sandman", and "Master of Puppets". Staind covered "Nothing Else Matters", Avril Lavigne played "Fuel", hip-hop artist Snoop Dogg performed "Sad but True", Korn played "One", and Limp Bizkit performed a rendition of "Welcome Home (Sanitarium)".[138]
The popular Guitar Hero series added a number of Metallica's songs into their games. The first instance was Guitar Hero III when "One" was a track in the game. In the sequel, Guitar Hero: World Tour, the song "Trapped Under Ice" was featured. Eventually in 2009, Metallica collaborated to make Guitar Hero: Metallica, in which a number of Metallica's songs were included. Harmonix' Rock Band series included "Enter Sandman", with "Ride the Lightning", "Blackened", and "...And Justice for All" released as downloadable tracks. The song "Battery" was featured in the game's sequel Rock Band 2.
Awards
Main article: List of awards and nominations received by Metallica
Grammy Awards:[63]
 1990: Best Metal Performance – "One"
 1991: Best Metal Performance – "Stone Cold Crazy"
 1992: Best Metal Performance – Metallica
 1999: Best Metal Performance – "Better than You"
 2000: Best Hard Rock Performance – "Whiskey in the Jar "
 2001: Best Rock Instrumental Performance – "The Call of Ktulu" with Michael Kamen and the San Francisco Symphony
 2004: Best Metal Performance – "St. Anger"
 2009: Best Metal Performance – "My Apocalypse"
 2009: Best Recording Package – Death Magnetic
MTV Video Music Awards:
 1992: Best Metal Video – "Enter Sandman"
 1996: Best Metal Video – "Until It Sleeps"
American Music Awards:
 1996: Favorite Artist: Heavy Metal/Hard Rock: Metallica – Load
 1996: Favorite Metal/Hard Rock Song – "Until It Sleeps"
Billboard Music Awards:
 1997: Billboard Rock and Roll Artist of the Year – Metallica (RIAA Diamond Award)
 1999: Catalogue Artist of the Year – Metallica
 1999: Catalogue Album of the Year – Metallica
Kerrang! Awards:
 2003: Hall of Fame – Metallica
 2003: Best International Band – Metallica
 2004: Best Band on the Planet – Metallica
 2008: Inspiration Award Winner – Metallica
 2009: Best Album – Death Magnetic

Metallica (pronounced /məˈtælɨkə/ ( listen)) is an American heavy metal band from Los Angeles, California, formed in 1981.
The band was founded when James Hetfield responded to an advertisement that drummerLars Ulrich had posted in a local newspaper. The current line-up features long-time lead guitarist Kirk Hammett (who joined the band in 1983) and bassist Robert Trujillo (a member since 2003) alongside Hetfield and Ulrich. Notable previous members of the band include former lead guitarist Dave Mustaine (who later went on to found the band Megadeth) and former bassists Ron McGovney, Cliff Burton and Jason Newsted. The band also had a long collaboration with producer Bob Rock, who produced all of the bands albums from 1990 to 2003 and served as a temporary bassist between the departure of Newsted and the hiring of Trujillo.
Metallica's early releases included fast tempos, instrumentals, and aggressive musicianship that placed the band as one of the founding "big four" of thrash metal alongside Slayer, Megadeth, and Anthrax.[1] The band earned a growing fan-base in the underground musiccommunity and critical acclaim, with its third album Master of Puppets (1986) described as one of the most influential and "heavy" thrash metal albums. Metallica achieved substantial commercial success with their eponymous fifth album (also known as The Black Album), which debuted at number one on the Billboard 200. With this release the band expanded its musical direction resulting in an album that appealed to a more mainstream audience.
In 2000, Metallica was among a number of artists who filed a lawsuit against Napster for sharing the band's copyright-protected material for free without any band member's consent.[2] A settlement was reached, and Napster became a pay-to-use service. Despite reaching number one on the Billboard 200, the release of St. Anger alienated many fans with the exclusion of guitar solos and the "steel-sounding" snare drum. A film titled Some Kind of Monster documented the recording process of St. Anger and the tensions within the band during that time.
Metallica has released nine studio albums, three live albums, two extended plays, 24 music videos, and 45 singles. The band has won nine Grammy Awards, and has had five consecutive albums debut at number one on the Billboard 200, [3] making Metallica the first band to do so; this record was later matched by the Dave Matthews Band.[4] The band's 1991 album, Metallica, has sold over 15 million copies in the United States, and 22 million copies worldwide, which makes it the 25th-best-selling album in the country.[5] In December 2009, it became the best-selling album of the SoundScan era, surpassing 1997's Come On Over by country artist Shania Twain.[6] The band has sold an estimated 100 million records worldwide as of the release of their latest album, Death Magnetic. As of December 2009, Metallica is the fourth best-selling music artist since the SoundScan era began tracking sales on May 25, 1991, selling a total of 52, 672, 000 albums in the United States alone.[7

Early years (1981–1983)
Metallica was formed in Los Angeles, California, in late 1981 when drummer Lars Ulrich placed an advertisement in a Los Angeles newspaper—The Recycler—which read "Drummer looking for other metal musicians to jam with Tygers of Pan Tang, Diamond Head and Iron Maiden."[8]Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement. Although he had not formed a band, Ulrich askedMetal Blade Records founder Brian Slagel if he could record a song for the label's upcoming compilation album Metal Massacre. Slagel accepted, and Ulrich recruited Hetfield to sing and play rhythm guitar.[8] The band was officially formed in October 1981, five months after Ulrich and Hetfield first met.[9]
Ulrich talked to his friend Ron Quintana, who was brainstorming names for a fanzine. Quintana had proposed the names MetalMania and Metallica. Ulrich used Metallica for the name of his band. A second advertisement was placed in The Recycler for a position as lead guitarist.Dave Mustaine answered, and after seeing his expensive guitar equipment, Ulrich and Hetfield recruited him. In early 1982, Metallica recorded its first original song "Hit the Lights" for the Metal Massacre I compilation. Hetfield played bass on the song and Lloyd Grant was credited with a guitar solo.[8] Released on June 14, 1982, early pressings of Metal Massacre I listed the band incorrectly as "Mettallica". Although angered by the error, Metallica managed to create enough "buzz" with the song and the band played its first live performance on March 14, 1982 at Radio City in Anaheim, California with newly recruited bassist Ron McGovney.[10] Metallica recorded its first demo, Power Metal, a name inspired by Quintana's early business cards in early 1982. In the fall of 1982, Ulrich and Hetfield attended a show at the West Hollywood nightclub Whisky a Go Go which featured bassist Cliff Burton in a band called Trauma. The two were "blown away" by Burton's use of a wah-wah pedal and asked him to join Metallica. Hetfield and Mustaine wanted McGovney out as they thought that he "didn't contribute anything, he just followed."[11] Although Burton initially declined the offer, by the end of the year he accepted on the condition the band move to El Cerrito in the San Francisco Bay Area. Metallica's first live performance with Burton was at the nightclub The Stone in March 1983, and the first recording to feature Burton was the Megaforce demo (1983).[11]
Metallica was ready to record its debut album, but when Metal Blade was unable to cover the additional cost, the band began looking for other options. Concert promoter Johny "Z" Zazula, who had heard the demo No Life 'til Leather (1982), offered to broker a record deal with Metallica and New York City-based record labels. After receiving no interest from various record labels, Zazula borrowed the money to cover the record's recording budget and signed Metallica to his own label, Megaforce Records.
Kill 'Em All and Ride the Lightning (1983–1984)
In May 1983, Metallica traveled to Rochester, New York to record its debut album, Metal Up Your ###, with production duties handled by Paul Curcio.[12] Band members decided to kick Mustaine out of the band due to drug and alcohol abuse and violent behavior just prior to the sessions on April 11, 1983.[13] Exodus guitarist Kirk Hammett flew in to replace Mustaine the same afternoon.
Mustaine, who went on to found Megadeth, has expressed his dislike for Hammett in interviews. He said Hammett "stole my job."[14]Mustaine was "pissed off" because he believes Hammett became popular by playing the guitar leads that Mustaine wrote.[15] In a 1985 interview with Metal Forces, Mustaine slammed Hammett saying, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine."[16] On Megadeth's debut album Killing Is My Business... and Business Is Good! (1985), Mustaine included the song "Mechanix", which Metallica renamed to "The Four Horsemen" on Kill 'Em All. Mustaine said he did this to "straighten Metallica up", as Metallica referred to Mustaine as a drunk and said he could not play guitar.[16]Metallica's first live performance with Hammett was on April 16, 1983 at the nightclub The Showplace in Dover, New Jersey.[11]
The band's debut album was initially to be titled Metal Up Your ###. Due to conflicts with its record label and the distributors' refusal to release an album with that name, it was renamed Kill 'Em All. Released on Megaforce Records in the United States and Music for Nations in Europe, the album reached number 120 on the Billboard 200 in 1988, [17] and although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the Kill 'Em All for One tour with Raven to support the release.[18] In February 1984, Metallica supported Venom on the Seven Dates of Hell tour, where the band performed in front of 7, 000 people at the Aardschok Festival in Zwolle, Netherlands.[19]
Metallica recorded its second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark. Released in August 1984, the album reached number 100 on the Billboard 200.[17] A French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Other songs on the album include "For Whom the Bell Tolls", "Fade to Black", "Creeping Death" (which tells the biblical story of the Hebrews' exodus from slavery in Egypt, focusing on the final plague that was visited on the Egyptians), and theinstrumental "The Call of Ktulu". Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu".[19]
Master of Puppets (1984–1986)

Metallica in 1985
Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a September 1984 Metallica concert. Impressed with what they saw, they signed Metallica to Elektra Records and made the band a client of Q-Prime Management.[20]Metallica's burgeoning success was such that the band's British label Music for Nations released a limited edition "Creeping Death" single, which sold 40, 000 copies as an import in the U.S. Two of the three songs on the record (cover versions of Diamond Head's "Am I Evil?", and Blitzkrieg's "Blitzkrieg") appeared on the 1989 Elektra reissue of Kill 'Em All.[21] Metallica embarked on its first major European tour with Tank to an average crowd of 1, 300. Returning to the U.S. marked a tour co-headlining with W.A.S.P. and Armored Saint supporting. Metallica played its largest show at the Monsters of Rock festival on August 17, 1985, with Bon Jovi and Ratt at Donington Park in England, playing in front of 70, 000 people. A show in Oakland, California, at the Day on the Greenfestival saw the band play in front of a crowd of 60, 000.[20]
Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios and was released in March 1986. The album reached number 29 on the Billboard 200, and spent 72 weeks on the chart.[22] The album was the band's first to be certified gold on November 4, 1986, and was certified six times platinum in 2003.[23] Steve Huey of Allmusic considered the album "the band's greatest achievement".[24] Following the release of the album, Metallica supported Ozzy Osbourne for a United States tour.[20] Hetfield broke his wrist skateboarding down a hill and continued the tour performing vocals, with guitar technician John Marshall playing rhythm guitar.[25]
Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]
…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights

The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]
Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]

The popular Guitar Hero series added a number of Metallica's songs into their games. The first instance was Guitar Hero III when "One" was a track in the game. In the sequel, Guitar Hero: World Tour, the song "Trapped Under Ice" was featured. Eventually in 2009, Metallica collaborated to make Guitar Hero: Metallica, in which a number of Metallica's songs were included. Harmonix' Rock Band series included "Enter Sandman", with "Ride the Lightning", "Blackened", and "...And Justice for All" released as downloadable tracks. The song "Battery" was featured in the game's sequel Rock Band 2.
Awards
Main article: List of awards and nominations received by Metallica
Grammy Awards:[63]
 1990: Best Metal Performance – "One"
 1991: Best Metal Performance – "Stone Cold Crazy"
 1992: Best Metal Performance – Metallica
 1999: Best Metal Performance – "Better than You"
 2000: Best Hard Rock Performance – "Whiskey in the Jar "
 2001: Best Rock Instrumental Performance – "The Call of Ktulu" with Michael Kamen and the San Francisco Symphony
 2004: Best Metal Performance – "St. Anger"
 2009: Best Metal Performance – "My Apocalypse"
 2009: Best Recording Package – Death Magnetic
MTV Video Music Awards:
 1992: Best Metal Video – "Enter Sandman"
 1996: Best Metal Video – "Until It Sleeps"
American Music Awards:
 1996: Favorite Artist: Heavy Metal/Hard Rock: Metallica – Load
 1996: Favorite Metal/Hard Rock Song – "Until It Sleeps"
Billboard Music Awards:
 1997: Billboard Rock and Roll Artist of the Year – Metallica (RIAA Diamond Award)
 1999: Catalogue Artist of the Year – Metallica
 1999: Catalogue Album of the Year – Metallica
Kerrang! Awards:
 2003: Hall of Fame – Metallica
 2003: Best International Band – Metallica
 2004: Best Band on the Planet – Metallica
 2008: Inspiration Award Winner – Metallica
 2009: Best Album – Death Magnetic

Metallica (pronounced /məˈtælɨkə/ ( listen)) is an American heavy metal band from Los Angeles, California, formed in 1981.
The band was founded when James Hetfield responded to an advertisement that drummerLars Ulrich had posted in a local newspaper. The current line-up features long-time lead guitarist Kirk Hammett (who joined the band in 1983) and bassist Robert Trujillo (a member since 2003) alongside Hetfield and Ulrich. Notable previous members of the band include former lead guitarist Dave Mustaine (who later went on to found the band Megadeth) and former bassists Ron McGovney, Cliff Burton and Jason Newsted. The band also had a long collaboration with producer Bob Rock, who produced all of the bands albums from 1990 to 2003 and served as a temporary bassist between the departure of Newsted and the hiring of Trujillo.
Metallica's early releases included fast tempos, instrumentals, and aggressive musicianship that placed the band as one of the founding "big four" of thrash metal alongside Slayer, Megadeth, and Anthrax.[1] The band earned a growing fan-base in the underground musiccommunity and critical acclaim, with its third album Master of Puppets (1986) described as one of the most influential and "heavy" thrash metal albums. Metallica achieved substantial commercial success with their eponymous fifth album (also known as The Black Album), which debuted at number one on the Billboard 200. With this release the band expanded its musical direction resulting in an album that appealed to a more mainstream audience.
In 2000, Metallica was among a number of artists who filed a lawsuit against Napster for sharing the band's copyright-protected material for free without any band member's consent.[2] A settlement was reached, and Napster became a pay-to-use service. Despite reaching number one on the Billboard 200, the release of St. Anger alienated many fans with the exclusion of guitar solos and the "steel-sounding" snare drum. A film titled Some Kind of Monster documented the recording process of St. Anger and the tensions within the band during that time.
Metallica has released nine studio albums, three live albums, two extended plays, 24 music videos, and 45 singles. The band has won nine Grammy Awards, and has had five consecutive albums debut at number one on the Billboard 200, [3] making Metallica the first band to do so; this record was later matched by the Dave Matthews Band.[4] The band's 1991 album, Metallica, has sold over 15 million copies in the United States, and 22 million copies worldwide, which makes it the 25th-best-selling album in the country.[5] In December 2009, it became the best-selling album of the SoundScan era, surpassing 1997's Come On Over by country artist Shania Twain.[6] The band has sold an estimated 100 million records worldwide as of the release of their latest album, Death Magnetic. As of December 2009, Metallica is the fourth best-selling music artist since the SoundScan era began tracking sales on May 25, 1991, selling a total of 52, 672, 000 albums in the United States alone.[7

Early years (1981–1983)
Metallica was formed in Los Angeles, California, in late 1981 when drummer Lars Ulrich placed an advertisement in a Los Angeles newspaper—The Recycler—which read "Drummer looking for other metal musicians to jam with Tygers of Pan Tang, Diamond Head and Iron Maiden."[8]Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement. Although he had not formed a band, Ulrich askedMetal Blade Records founder Brian Slagel if he could record a song for the label's upcoming compilation album Metal Massacre. Slagel accepted, and Ulrich recruited Hetfield to sing and play rhythm guitar.[8] The band was officially formed in October 1981, five months after Ulrich and Hetfield first met.[9]
Ulrich talked to his friend Ron Quintana, who was brainstorming names for a fanzine. Quintana had proposed the names MetalMania and Metallica. Ulrich used Metallica for the name of his band. A second advertisement was placed in The Recycler for a position as lead guitarist.Dave Mustaine answered, and after seeing his expensive guitar equipment, Ulrich and Hetfield recruited him. In early 1982, Metallica recorded its first original song "Hit the Lights" for the Metal Massacre I compilation. Hetfield played bass on the song and Lloyd Grant was credited with a guitar solo.[8] Released on June 14, 1982, early pressings of Metal Massacre I listed the band incorrectly as "Mettallica". Although angered by the error, Metallica managed to create enough "buzz" with the song and the band played its first live performance on March 14, 1982 at Radio City in Anaheim, California with newly recruited bassist Ron McGovney.[10] Metallica recorded its first demo, Power Metal, a name inspired by Quintana's early business cards in early 1982. In the fall of 1982, Ulrich and Hetfield attended a show at the West Hollywood nightclub Whisky a Go Go which featured bassist Cliff Burton in a band called Trauma. The two were "blown away" by Burton's use of a wah-wah pedal and asked him to join Metallica. Hetfield and Mustaine wanted McGovney out as they thought that he "didn't contribute anything, he just followed."[11] Although Burton initially declined the offer, by the end of the year he accepted on the condition the band move to El Cerrito in the San Francisco Bay Area. Metallica's first live performance with Burton was at the nightclub The Stone in March 1983, and the first recording to feature Burton was the Megaforce demo (1983).[11]
Metallica was ready to record its debut album, but when Metal Blade was unable to cover the additional cost, the band began looking for other options. Concert promoter Johny "Z" Zazula, who had heard the demo No Life 'til Leather (1982), offered to broker a record deal with Metallica and New York City-based record labels. After receiving no interest from various record labels, Zazula borrowed the money to cover the record's recording budget and signed Metallica to his own label, Megaforce Records.
Kill 'Em All and Ride the Lightning (1983–1984)
In May 1983, Metallica traveled to Rochester, New York to record its debut album, Metal Up Your ###, with production duties handled by Paul Curcio.[12] Band members decided to kick Mustaine out of the band due to drug and alcohol abuse and violent behavior just prior to the sessions on April 11, 1983.[13] Exodus guitarist Kirk Hammett flew in to replace Mustaine the same afternoon.
Mustaine, who went on to found Megadeth, has expressed his dislike for Hammett in interviews. He said Hammett "stole my job."[14]Mustaine was "pissed off" because he believes Hammett became popular by playing the guitar leads that Mustaine wrote.[15] In a 1985 interview with Metal Forces, Mustaine slammed Hammett saying, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine."[16] On Megadeth's debut album Killing Is My Business... and Business Is Good! (1985), Mustaine included the song "Mechanix", which Metallica renamed to "The Four Horsemen" on Kill 'Em All. Mustaine said he did this to "straighten Metallica up", as Metallica referred to Mustaine as a drunk and said he could not play guitar.[16]Metallica's first live performance with Hammett was on April 16, 1983 at the nightclub The Showplace in Dover, New Jersey.[11]
The band's debut album was initially to be titled Metal Up Your ###. Due to conflicts with its record label and the distributors' refusal to release an album with that name, it was renamed Kill 'Em All. Released on Megaforce Records in the United States and Music for Nations in Europe, the album reached number 120 on the Billboard 200 in 1988, [17] and although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the Kill 'Em All for One tour with Raven to support the release.[18] In February 1984, Metallica supported Venom on the Seven Dates of Hell tour, where the band performed in front of 7, 000 people at the Aardschok Festival in Zwolle, Netherlands.[19]
Metallica recorded its second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark. Released in August 1984, the album reached number 100 on the Billboard 200.[17] A French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Other songs on the album include "For Whom the Bell Tolls", "Fade to Black", "Creeping Death" (which tells the biblical story of the Hebrews' exodus from slavery in Egypt, focusing on the final plague that was visited on the Egyptians), and theinstrumental "The Call of Ktulu". Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu".[19]
Master of Puppets (1984–1986)

Metallica in 1985
Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a September 1984 Metallica concert. Impressed with what they saw, they signed Metallica to Elektra Records and made the band a client of Q-Prime Management.[20]Metallica's burgeoning success was such that the band's British label Music for Nations released a limited edition "Creeping Death" single, which sold 40, 000 copies as an import in the U.S. Two of the three songs on the record (cover versions of Diamond Head's "Am I Evil?", and Blitzkrieg's "Blitzkrieg") appeared on the 1989 Elektra reissue of Kill 'Em All.[21] Metallica embarked on its first major European tour with Tank to an average crowd of 1, 300. Returning to the U.S. marked a tour co-headlining with W.A.S.P. and Armored Saint supporting. Metallica played its largest show at the Monsters of Rock festival on August 17, 1985, with Bon Jovi and Ratt at Donington Park in England, playing in front of 70, 000 people. A show in Oakland, California, at the Day on the Greenfestival saw the band play in front of a crowd of 60, 000.[20]
Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios and was released in March 1986. The album reached number 29 on the Billboard 200, and spent 72 weeks on the chart.[22] The album was the band's first to be certified gold on November 4, 1986, and was certified six times platinum in 2003.[23] Steve Huey of Allmusic considered the album "the band's greatest achievement".[24] Following the release of the album, Metallica supported Ozzy Osbourne for a United States tour.[20] Hetfield broke his wrist skateboarding down a hill and continued the tour performing vocals, with guitar technician John Marshall playing rhythm guitar.[25]
Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]
…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights to the film. The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]

Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]

Kill 'Em All and Ride the Lightning (1983–1984)
In May 1983, Metallica traveled to Rochester, New York to record its debut album, Metal Up Your ###, with production duties handled by Paul Curcio.[12] Band members decided to kick Mustaine out of the band due to drug and alcohol abuse and violent behavior just prior to the sessions on April 11, 1983.[13] Exodus guitarist Kirk Hammett flew in to replace Mustaine the same afternoon.
Mustaine, who went on to found Megadeth, has expressed his dislike for Hammett in interviews. He said Hammett "stole my job."[14]Mustaine was "pissed off" because he believes Hammett became popular by playing the guitar leads that Mustaine wrote.[15] In a 1985 interview with Metal Forces, Mustaine slammed Hammett saying, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine."[16] On Megadeth's debut album Killing Is My Business... and Business Is Good! (1985), Mustaine included the song "Mechanix", which Metallica renamed to "The Four Horsemen" on Kill 'Em All. Mustaine said he did this to "straighten Metallica up", as Metallica referred to Mustaine as a drunk and said he could not play guitar.[16]Metallica's first live performance with Hammett was on April 16, 1983 at the nightclub The Showplace in Dover, New Jersey.[11]
The band's debut album was initially to be titled Metal Up Your ###. Due to conflicts with its record label and the distributors' refusal to release an album with that name, it was renamed Kill 'Em All. Released on Megaforce Records in the United States and Music for Nations in Europe, the album reached number 120 on the Billboard 200 in 1988, [17] and although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the Kill 'Em All for One tour with Raven to support the release.[18] In February 1984, Metallica supported Venom on the Seven Dates of Hell tour, where the band performed in front of 7, 000 people at the Aardschok Festival in Zwolle, Netherlands.[19]
Metallica recorded its second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark. Released in August 1984, the album reached number 100 on the Billboard 200.[17] A French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Other songs on the album include "For Whom the Bell Tolls", "Fade to Black", "Creeping Death" (which tells the biblical story of the Hebrews' exodus from slavery in Egypt, focusing on the final plague that was visited on the Egyptians), and theinstrumental "The Call of Ktulu". Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu".[19]
Master of Puppets (1984–1986)

Metallica in 1985
Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a September 1984 Metallica concert. Impressed with what they saw, they signed Metallica to Elektra Records and made the band a client of Q-Prime Management.[20]Metallica's burgeoning success was such that the band's British label Music for Nations released a limited edition "Creeping Death" single, which sold 40, 000 copies as an import in the U.S. Two of the three songs on the record (cover versions of Diamond Head's "Am I Evil?", and Blitzkrieg's "Blitzkrieg") appeared on the 1989 Elektra reissue of Kill 'Em All.[21] Metallica embarked on its first major European tour with Tank to an average crowd of 1, 300. Returning to the U.S. marked a tour co-headlining with W.A.S.P. and Armored Saint supporting. Metallica played its largest show at the Monsters of Rock festival on August 17, 1985, with Bon Jovi and Ratt at Donington Park in England, playing in front of 70, 000 people. A show in Oakland, California, at the Day on the Greenfestival saw the band play in front of a crowd of 60, 000.[20]
Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios and was released in March 1986. The album reached number 29 on the Billboard 200, and spent 72 weeks on the chart.[22] The album was the band's first to be certified gold on November 4, 1986, and was certified six times platinum in 2003.[23] Steve Huey of Allmusic considered the album "the band's greatest achievement".[24] Following the release of the album, Metallica supported Ozzy Osbourne for a United States tour.[20] Hetfield broke his wrist skateboarding down a hill and continued the tour performing vocals, with guitar technician John Marshall playing rhythm guitar.[25]
Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]
…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights to the film. The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]
Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]

Early years (1981–1983)
Metallica was formed in Los Angeles, California, in late 1981 when drummer Lars Ulrich placed an advertisement in a Los Angeles newspaper—The Recycler—which read "Drummer looking for other metal musicians to jam with Tygers of Pan Tang, Diamond Head and Iron Maiden."[8]Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement. Although he had not formed a band, Ulrich askedMetal Blade Records founder Brian Slagel if he could record a song for the label's upcoming compilation album Metal Massacre. Slagel accepted, and Ulrich recruited Hetfield to sing and play rhythm guitar.[8] The band was officially formed in October 1981, five months after Ulrich and Hetfield first met.[9]
Ulrich talked to his friend Ron Quintana, who was brainstorming names for a fanzine. Quintana had proposed the names MetalMania and Metallica. Ulrich used Metallica for the name of his band. A second advertisement was placed in The Recycler for a position as lead guitarist.Dave Mustaine answered, and after seeing his expensive guitar equipment, Ulrich and Hetfield recruited him. In early 1982, Metallica recorded its first original song "Hit the Lights" for the Metal Massacre I compilation. Hetfield played bass on the song and Lloyd Grant was credited with a guitar solo.[8] Released on June 14, 1982, early pressings of Metal Massacre I listed the band incorrectly as "Mettallica". Although angered by the error, Metallica managed to create enough "buzz" with the song and the band played its first live performance on March 14, 1982 at Radio City in Anaheim, California with newly recruited bassist Ron McGovney.[10] Metallica recorded its first demo, Power Metal, a name inspired by Quintana's early business cards in early 1982. In the fall of 1982, Ulrich and Hetfield attended a show at the West Hollywood nightclub Whisky a Go Go which featured bassist Cliff Burton in a band called Trauma. The two were "blown away" by Burton's use of a wah-wah pedal and asked him to join Metallica. Hetfield and Mustaine wanted McGovney out as they thought that he "didn't contribute anything, he just followed."[11] Although Burton initially declined the offer, by the end of the year he accepted on the condition the band move to El Cerrito in the San Francisco Bay Area. Metallica's first live performance with Burton was at the nightclub The Stone in March 1983, and the first recording to feature Burton was the Megaforce demo (1983).[11]
Metallica was ready to record its debut album, but when Metal Blade was unable to cover the additional cost, the band began looking for other options. Concert promoter Johny "Z" Zazula, who had heard the demo No Life 'til Leather (1982), offered to broker a record deal with Metallica and New York City-based record labels. After receiving no interest from various record labels, Zazula borrowed the money to cover the record's recording budget and signed Metallica to his own label, Megaforce Records.
Kill 'Em All and Ride the Lightning (1983–1984)
In May 1983, Metallica traveled to Rochester, New York to record its debut album, Metal Up Your ###, with production duties handled by Paul Curcio.[12] Band members decided to kick Mustaine out of the band due to drug and alcohol abuse and violent behavior just prior to the sessions on April 11, 1983.[13] Exodus guitarist Kirk Hammett flew in to replace Mustaine the same afternoon.
Mustaine, who went on to found Megadeth, has expressed his dislike for Hammett in interviews. He said Hammett "stole my job."[14]Mustaine was "pissed off" because he believes Hammett became popular by playing the guitar leads that Mustaine wrote.[15] In a 1985 interview with Metal Forces, Mustaine slammed Hammett saying, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine."[16] On Megadeth's debut album Killing Is My Business... and Business Is Good! (1985), Mustaine included the song "Mechanix", which Metallica renamed to "The Four Horsemen" on Kill 'Em All. Mustaine said he did this to "straighten Metallica up", as Metallica referred to Mustaine as a drunk and said he could not play guitar.[16]Metallica's first live performance with Hammett was on April 16, 1983 at the nightclub The Showplace in Dover, New Jersey.[11]
The band's debut album was initially to be titled Metal Up Your ###. Due to conflicts with its record label and the distributors' refusal to release an album with that name, it was renamed Kill 'Em All. Released on Megaforce Records in the United States and Music for Nations in Europe, the album reached number 120 on the Billboard 200 in 1988, [17] and although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the Kill 'Em All for One tour with Raven to support the release.[18] In February 1984, Metallica supported Venom on the Seven Dates of Hell tour, where the band performed in front of 7, 000 people at the Aardschok Festival in Zwolle, Netherlands.[19]
Metallica recorded its second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark. Released in August 1984, the album reached number 100 on the Billboard 200.[17] A French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Other songs on the album include "For Whom the Bell Tolls", "Fade to Black", "Creeping Death" (which tells the biblical story of the Hebrews' exodus from slavery in Egypt, focusing on the final plague that was visited on the Egyptians), and theinstrumental "The Call of Ktulu". Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu".[19]
Master of Puppets (1984–1986)

Metallica in 1985
Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a September 1984 Metallica concert. Impressed with what they saw, they signed Metallica to Elektra Records and made the band a client of Q-Prime Management.[20]Metallica's burgeoning success was such that the band's British label Music for Nations released a limited edition "Creeping Death" single, which sold 40, 000 copies as an import in the U.S. Two of the three songs on the record (cover versions of Diamond Head's "Am I Evil?", and Blitzkrieg's "Blitzkrieg") appeared on the 1989 Elektra reissue of Kill 'Em All.[21] Metallica embarked on its first major European tour with Tank to an average crowd of 1, 300. Returning to the U.S. marked a tour co-headlining with W.A.S.P. and Armored Saint supporting. Metallica played its largest show at the Monsters of Rock festival on August 17, 1985, with Bon Jovi and Ratt at Donington Park in England, playing in front of 70, 000 people. A show in Oakland, California, at the Day on the Greenfestival saw the band play in front of a crowd of 60, 000.[20]
Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios and was released in March 1986. The album reached number 29 on the Billboard 200, and spent 72 weeks on the chart.[22] The album was the band's first to be certified gold on November 4, 1986, and was certified six times platinum in 2003.[23] Steve Huey of Allmusic considered the album "the band's greatest achievement".[24] Following the release of the album, Metallica supported Ozzy Osbourne for a United States tour.[20] Hetfield broke his wrist skateboarding down a hill and continued the tour performing vocals, with guitar technician John Marshall playing rhythm guitar.[25]
Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]

…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights to the film. The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]
Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]
Death Magnetic (2006–2010)

Hammett performing live in 2007
In December 2006, Metallica released a DVD containing all the music videos from 1989 to 2004. The DVD, titled The Videos 1989–2004, sold 28, 000 copies in its first week, and entered theBillboard Top Videos chart at number three.[67] Metallica recorded a cover of Ennio Morricone's "The Ecstasy of Gold" for a tribute album titled We All Love Ennio Morricone, released in February 2007. The cover received a Grammy nomination at the 50th Grammy Awards for the category "Best Rock Instrumental Performance".[68] A recording of "The Ecstasy of Gold" has been played as the introduction for Metallica performances since the 1980s. However, this new version features the band itself performing the piece, giving a new guitar-based interpretation to the music.[69]
In 2006, Metallica announced on its official website that after 15 years, long-time producer Bob Rock would not be producing Metallica's next studio album. The band chose to work with producerRick Rubin, who had produced albums for bands such as Danzig, Johnny Cash, Slayer, Slipknotand System of a Down.[70] Metallica scheduled the release date for Death Magnetic as September 12, 2008, and the band filmed a music video for the album's first single "The Day That Never Comes".
On September 2, 2008, a French record store began selling copies of Death Magnetic nearly two weeks ahead of its scheduled worldwide release date, [71] which resulted in the album being made available on peer-to-peer clients. This prompted the band's United Kingdom distributor, Vertigo Records, to officially release the album two days ahead of schedule, on September 10, 2008. It is currently unconfirmed whether Metallica or Warner Bros. will be taking any action against the retailer, though drummer Lars Ulrich has made such responses to theleak as, "…We're ten days from release. I mean, from here, we're golden. If this thing leaks all over the world today or tomorrow, happy days. Happy days. Trust me, "[72] and, "By 2008 standards, that's a victory. If you'd told me six months ago that our record wouldn't leak until 10 days out, I would have signed up for that."[73]
Death Magnetic debuted at number one in the United States selling 490, 000 units with Metallica becoming the first band to have five consecutive studio albums debut at number one in the history of the Billboard 200.[74] After a week of its release, Death Magnetic remained at number one on the Billboard 200, the European album chart, and became the fastest selling album in Australia for 2008.[75]

Kirk Hammett and James Hetfield performing in London in 2008
Death Magnetic remained at number one on the Billboard 200 album chart for three consecutive weeks. Metallica was one of two artists, along with Jack Johnson with the release of the album Sleep Through the Static, to remain on the Billboard 200 for three consecutive weeks at number one in 2008. Death Magnetic had also remained at number one on Billboard's Hard Rock, Modern Rock/Alternative and Rock album charts for five consecutive weeks. Internationally, the album reached number one in 32 countries including the United Kingdom, Canada, and Australia.[76][77][78][79]
In November 2008, Metallica came to the end of its record deal with Warner Bros., and the band is now considering its options for the future and, according to Ulrich, one of the band's options is to release its next album through the internet.[80][81]
On January 14, 2009, it was announced that Metallica would be inducted into the Rock and Roll Hall of Fame on April 4, 2009, [82] and that former bassist Jason Newsted (who left the band in 2001), would perform with the band at the ceremony.[83] Initially, it was announced that the matter had been discussed, and that current bassist Trujillo had agreed not to play, as he "wanted to see the Black Album band".[84]However, during the band's set of "Master of Puppets" and "Enter Sandman", both Trujillo and Newsted were on stage.[85] Ray Burton, father of the late Cliff Burton, accepted the honor on his behalf. Metallica also invited Dave Mustaine to take part in the induction ceremony, though he declined, citing his touring commitments in Europe.[86][87][88]
In a June 2009 interview with Italy's Rock TV, Ulrich stated that Metallica plans to continue touring through August 2010, stating there are no plans for a tenth album, but is sure that they will collaborate with producer Rick Rubin again.[89] According to Blabbermouth.net, the band may start thinking about recording their next album in the second half of 2011.[90]
Metallica, along with Slayer, Megadeth, and Anthrax, performed on the same bill for the first time on June 16, 2010 at Bemowo Airport (Warsaw, Poland). It was the first performance of that bands played as a part of Sonisphere Festival series, one of the following (Sofia, Bulgaria, June 22, 2010) was sent via satellite in HD to cinemas.[91] They also went on to play in Bucharest, Romania (June 26, 2010) and then in Istanbul, Turkey (June 27, 2010) also as part of the Sonisphere Festival. On June 28, 2010, Death Magnetic was certified 2X platinum by the RIAA.[92]
The band's World Magnetic Tour ended on November 21, 2010 in Melbourne, Australia. The band had been touring for over two years in support of Death Magnetic. To go with its final tour dates in Australia and New Zealand, a live limited edition EP of past performances in Australia was released called Six Feet Down Under.[93] The EP was also followed by Six Feet Down Under (Part II), which was released on November 12, 2010.[94] Part 2 contains a further 8 songs recorded during the first two Oceanic Legs of the World Magnetic Tour.
On November 26, 2010, Metallica released another live EP, entitled Live at Grimey's, which was recorded in June 2008 at Grimey's Record Store, just prior to its appearance at Bonnaroo that year.[95][96]
New album and future (2010–present)
In a November 2010 interview with The Pulse of Radio, Ulrich stated that Metallica wants to get back to writing again for 2011. Ulrich stated: "There’s a bunch of balls in the air for 2011, but I think the main one is we really want to get back to writing again. We haven’t really written since, what, ’06, ’07, and we want to get back to kind of just being creative again. Right now we are going to just chill out and then probably start up again in, I’d say, March or April, and start probably putting the creative cap back on and start writing some songs."[97]
On November 9, 2010, Metallica announced that it will be headlining the Rock in Rio, in Rio de Janeiro, on September 25, 2011.[98][99] On December 13, 2010, the band announced that it will once again play as part of the "big four" during the Sonisphere Festival U.K., on July 8, 2011. It will be the first time all of the "big four" members play on the same stage in United Kingdom. The performance will take place inKnebworth House, Hertfordshire.[100] On December 17, 2010, Another "big four" Sonisphere performance was announced that will take place in France on July 9.[101] On January 25, 2011, another "big four" performance was announced, this time in the United States. The performance will take place on April 23, 2011 in Indio, California at the Empire Polo Club. It is the only scheduled concert in the United States, it will also be the first time all of the "big four" members play on the same stage in the United States.[102] On 17 February 2011, another show was announced in Europe. The performance will take place in Gelsenkirchen, Germany on July 2, 2011.[103] On February 22, another "big four" show was announced, also in Europe. The performance will take place in Milan, Italy on July 6, 2011.[104] On March 2, 2011, again another Big 4 show was announced. This show will take place in Sweden on July 3, 2011.[105]
Style and lyrical themes

Influenced by early heavy metal and hard rock bands such as Black Sabbath, Deep Purple, Led Zeppelin and Scorpions, [106] New Wave of British Heavy Metal bands such as Venom, Motörhead, Diamond Head, Judas Priest, and Iron Maiden, and earlypunk rock bands such as the Ramones, the Sex Pistols, and the Misfits, early Metallica releases contained fast tempos, harmonized leads, and nine-minuteinstrumentals. Steve Huey of Allmusic said that Ride the Lightning featured "extended, progressive epics; tight, concise groove-rockers".[107] Huey felt Metallica expanded its compositional technique and range of expression to take on a more aggressive approach in following releases, and lyrics dealt with more personal and socially conscious issues.[107] Lyrical themes explored on Master of Puppetsincluded religious and military leaders, rage, insanity, monsters, and drugs.[108]
In 1991, with new producer Bob Rock, Huey felt Metallica simplified and streamlined its music for a more commercial approach to appeal to the mainstream audience.[109]The band abandoned its aggressive, fast tempos to expand its music and expressiverange, said Robert Palmer of Rolling Stone.[110] The change in direction proved commercially successful as Metallica was the band's first album to peak at number one on the Billboard 200. Metallica noticed changes to the rock scene created by thegrunge movement of the early 1990s. In what has been described as "an almostalternative rock" approach, the band focused on non-metal influences and changed musical direction.[111] Moving away from lyrical themes dealing with drugs and monsters, Metallica's new lyrical approach focused on anger, loss, and retribution. Some fans and critics were not pleased with this change, which included haircuts, the cover of Load, and headlining the alternative rock concert Lollapalooza.[43] David Fricke of Rolling Stone described the move as "goodbye to the moldy stricture and dead-end Puritanism of no-frills thrash" and called Loadthe heaviest record of 1996.[43] With the release of ReLoad in 1997, the band displayed more blues and early hard rock influences, incorporating more rhythm and harmony in song structures.[111]
St. Anger marked another large change in the band's sound. Guitar solos were excluded from the album, leaving a "raw and unpolished sound".[60] The band used drop C tuning, and Ulrich's snare drum received particular criticism. New York Magazine's Ethan Brown noted it "reverberates with a thwong". Lyrics on the album dealt with Hetfield's stint in rehab, including references to the devil, anti-drug themes, claustrophobia, impending doom, and religious hypocrisy.[112][113] At the advice of producer Rick Rubin, for its ninth studio album, Death Magnetic, the band returned to E tuning (though all songs were tuned half step down live) and guitar solos, and adapted Middle Eastern influences.[114]
Legacy and influence
Metallica has become one of the most influential heavy metal bands, and is credited as one of the "big four" of thrash metal, along withSlayer, Anthrax, and Megadeth.[1] The band has sold more than 100 million records worldwide, [115] including 59 million in the United States.[116] The writers of The Rolling Stone Encyclopedia of Rock & Roll felt Metallica gave heavy metal "a much-needed charge".[117]Stephen Thomas Erlewine and Greg Prato of Allmusic said Metallica "expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions", calling the band "easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth."[109]
Jonathan Davis of Korn respects Metallica as his favorite band and comments, "I love that they've done things their own way and they've persevered over the years and they're still relevant to this day. I think they're one of the greatest bands ever."[118] Godsmack drummerShannon Larkin said Metallica has been the biggest influence on the band stating, "they really changed my life when I was 16 years old – I’d never heard anything that heavy."[119] Vocalist and guitarist Robb Flynn of Machine Head said that when creating the band's 2007 album, The Blackening, "What we mean is an album that has the power, influence and epic grandeur of that album Master of Puppets – and the staying power – a timeless record like that".[120] Trivium guitarists Corey Beaulieu and Matt Heafy said that when they heard Metallica they wanted to start playing guitar.[121][122] M Shadows of Avenged Sevenfold stated touring with Metallica was the band's career highlight, and said "Selling tons of records and playing huge shows will never compare to meeting your idols Metallica."[123] God Forbid guitarists Doc and Dallas Coylegrew up with Metallica as an inspiration, and the band's bassist John Outcalt admires Burton as a "rocker".[124] Ill Niño drummer Dave Chavarri finds early Metallica releases as "heavy, raw, rebellious. It said, '### you'", [125] and Adema drummer Kris Kohls says the band is influenced by Metallica.[126]
Kerrang! released a tribute album with the April 8, 2006, edition of the magazine, titled Master of Puppets: Remastered, which celebrated the 20-year anniversary of Master of Puppets. The album featured cover versions of Metallica songs by the bands Machine Head, Bullet for My Valentine, Chimaira, Mastodon, Mendeed, and Trivium, all who are influenced by Metallica. Over 15 Metallica tribute albums have been released. On September 10, 2006, Metallica guest starred on The Simpsons' eighteenth season premiere "The Mook, the Chef, the Wife and Her Homer", [127] and Hammett's and Hetfield's voices were used in three episodes of the animated television series Metalocalypse.[128]
The Finnish cello metal band Apocalyptica released a tribute album, Plays Metallica by Four Cellos, which featured eight Metallica songs recorded with cellos. A parody band named Beatallica plays music using a combination of The Beatles and Metallica songs. Beatallica faced legal troubles when the Sony Corporation, who own The Beatles' catalogue, ordered a cease-and-desist claiming "substantial and irreparable injury"—ordering the group to pay damages. A fan of Beatallica, Ulrich asked Metallica lawyer Peter Paterno to help settle the legal case.[129]
Metallica was ranked by MTV as the third "Greatest Heavy Metal Band in History", [118] was listed fifth on VH1's 100 Greatest Artists of Hard Rock, [130] and was number one on VH1's 20 Greatest Metal Bands list.[131] Master of Puppets was ranked number 167 on Rolling Stone'sThe 500 Greatest Albums of All Time, and Metallica was number 252.[132] Master of Puppets was named in Q Magazine's "50 Heaviest Albums of All Time", [133] ranked number one on IGN's "Top 25 Metal Albums", [134] and number one on the Metal-rules.com "Top 100 Heavy Metal Albums" list.[135] The song "Enter Sandman" was ranked number 399 on Rolling Stone's "500 Greatest Songs of All Time".[136]
On March 7, 1999, Metallica was inducted into the San Francisco Walk of Fame. The mayor of San Francisco, Willie Brown, proclaimed the day "Official Metallica Day".[137] Metallica was awarded the MTV Icon award in 2003, and a concert was held paying tribute to the band with artists performing Metallica songs. Performances included Sum 41 with a medley of "For Whom the Bell Tolls", "Enter Sandman", and "Master of Puppets". Staind covered "Nothing Else Matters", Avril Lavigne played "Fuel", hip-hop artist Snoop Dogg performed "Sad but True", Korn played "One", and Limp Bizkit performed a rendition of "Welcome Home (Sanitarium)".[138]
The popular Guitar Hero series added a number of Metallica's songs into their games. The first instance was Guitar Hero III when "One" was a track in the game. In the sequel, Guitar Hero: World Tour, the song "Trapped Under Ice" was featured. Eventually in 2009, Metallica collaborated to make Guitar Hero: Metallica, in which a number of Metallica's songs were included. Harmonix' Rock Band series included "Enter Sandman", with "Ride the Lightning", "Blackened", and "...And Justice for All" released as downloadable tracks. The song "Battery" was featured in the game's sequel Rock Band 2.

Awards
Main article: List of awards and nominations received by Metallica
Grammy Awards:[63]
 1990: Best Metal Performance – "One"
 1991: Best Metal Performance – "Stone Cold Crazy"
 1992: Best Metal Performance – Metallica
 1999: Best Metal Performance – "Better than You"
 2000: Best Hard Rock Performance – "Whiskey in the Jar "
 2001: Best Rock Instrumental Performance – "The Call of Ktulu" with Michael Kamen and the San Francisco Symphony
 2004: Best Metal Performance – "St. Anger"
 2009: Best Metal Performance – "My Apocalypse"
 2009: Best Recording Package – Death Magnetic
MTV Video Music Awards:
 1992: Best Metal Video – "Enter Sandman"
 1996: Best Metal Video – "Until It Sleeps"
American Music Awards:
 1996: Favorite Artist: Heavy Metal/Hard Rock: Metallica – Load
 1996: Favorite Metal/Hard Rock Song – "Until It Sleeps"
Billboard Music Awards:
 1997: Billboard Rock and Roll Artist of the Year – Metallica (RIAA Diamond Award)
 1999: Catalogue Artist of the Year – Metallica
 1999: Catalogue Album of the Year – Metallica
Kerrang! Awards:
 2003: Hall of Fame – Metallica
 2003: Best International Band – Metallica
 2004: Best Band on the Planet – Metallica
 2008: Inspiration Award Winner – Metallica
 2009: Best Album – Death Magnetic

Metallica (pronounced /məˈtælɨkə/ ( listen)) is an American heavy metal band from Los Angeles, California, formed in 1981.
The band was founded when James Hetfield responded to an advertisement that drummerLars Ulrich had posted in a local newspaper. The current line-up features long-time lead guitarist Kirk Hammett (who joined the band in 1983) and bassist Robert Trujillo (a member since 2003) alongside Hetfield and Ulrich. Notable previous members of the band include former lead guitarist Dave Mustaine (who later went on to found the band Megadeth) and former bassists Ron McGovney, Cliff Burton and Jason Newsted. The band also had a long collaboration with producer Bob Rock, who produced all of the bands albums from 1990 to 2003 and served as a temporary bassist between the departure of Newsted and the hiring of Trujillo.
Metallica's early releases included fast tempos, instrumentals, and aggressive musicianship that placed the band as one of the founding "big four" of thrash metal alongside Slayer, Megadeth, and Anthrax.[1] The band earned a growing fan-base in the underground musiccommunity and critical acclaim, with its third album Master of Puppets (1986) described as one of the most influential and "heavy" thrash metal albums. Metallica achieved substantial commercial success with their eponymous fifth album (also known as The Black Album), which debuted at number one on the Billboard 200. With this release the band expanded its musical direction resulting in an album that appealed to a more mainstream audience.
In 2000, Metallica was among a number of artists who filed a lawsuit against Napster for sharing the band's copyright-protected material for free without any band member's consent.[2] A settlement was reached, and Napster became a pay-to-use service. Despite reaching number one on the Billboard 200, the release of St. Anger alienated many fans with the exclusion of guitar solos and the "steel-sounding" snare drum. A film titled Some Kind of Monster documented the recording process of St. Anger and the tensions within the band during that time.
Metallica has released nine studio albums, three live albums, two extended plays, 24 music videos, and 45 singles. The band has won nine Grammy Awards, and has had five consecutive albums debut at number one on the Billboard 200, [3] making Metallica the first band to do so; this record was later matched by the Dave Matthews Band.[4] The band's 1991 album, Metallica, has sold over 15 million copies in the United States, and 22 million copies worldwide, which makes it the 25th-best-selling album in the country.[5] In December 2009, it became the best-selling album of the SoundScan era, surpassing 1997's Come On Over by country artist Shania Twain.[6] The band has sold an estimated 100 million records worldwide as of the release of their latest album, Death Magnetic. As of December 2009, Metallica is the fourth best-selling music artist since the SoundScan era began tracking sales on May 25, 1991, selling a total of 52, 672, 000 albums in the United States alone.[7

Early years (1981–1983)
Metallica was formed in Los Angeles, California, in late 1981 when drummer Lars Ulrich placed an advertisement in a Los Angeles newspaper—The Recycler—which read "Drummer looking for other metal musicians to jam with Tygers of Pan Tang, Diamond Head and Iron Maiden."[8]Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement. Although he had not formed a band, Ulrich askedMetal Blade Records founder Brian Slagel if he could record a song for the label's upcoming compilation album Metal Massacre. Slagel accepted, and Ulrich recruited Hetfield to sing and play rhythm guitar.[8] The band was officially formed in October 1981, five months after Ulrich and Hetfield first met.[9]
Ulrich talked to his friend Ron Quintana, who was brainstorming names for a fanzine. Quintana had proposed the names MetalMania and Metallica. Ulrich used Metallica for the name of his band. A second advertisement was placed in The Recycler for a position as lead guitarist.Dave Mustaine answered, and after seeing his expensive guitar equipment, Ulrich and Hetfield recruited him. In early 1982, Metallica recorded its first original song "Hit the Lights" for the Metal Massacre I compilation. Hetfield played bass on the song and Lloyd Grant was credited with a guitar solo.[8] Released on June 14, 1982, early pressings of Metal Massacre I listed the band incorrectly as "Mettallica". Although angered by the error, Metallica managed to create enough "buzz" with the song and the band played its first live performance on March 14, 1982 at Radio City in Anaheim, California with newly recruited bassist Ron McGovney.[10] Metallica recorded its first demo, Power Metal, a name inspired by Quintana's early business cards in early 1982. In the fall of 1982, Ulrich and Hetfield attended a show at the West Hollywood nightclub Whisky a Go Go which featured bassist Cliff Burton in a band called Trauma. The two were "blown away" by Burton's use of a wah-wah pedal and asked him to join Metallica. Hetfield and Mustaine wanted McGovney out as they thought that he "didn't contribute anything, he just followed."[11] Although Burton initially declined the offer, by the end of the year he accepted on the condition the band move to El Cerrito in the San Francisco Bay Area. Metallica's first live performance with Burton was at the nightclub The Stone in March 1983, and the first recording to feature Burton was the Megaforce demo (1983).[11]
Metallica was ready to record its debut album, but when Metal Blade was unable to cover the additional cost, the band began looking for other options. Concert promoter Johny "Z" Zazula, who had heard the demo No Life 'til Leather (1982), offered to broker a record deal with Metallica and New York City-based record labels. After receiving no interest from various record labels, Zazula borrowed the money to cover the record's recording budget and signed Metallica to his own label, Megaforce Records.
Kill 'Em All and Ride the Lightning (1983–1984)
In May 1983, Metallica traveled to Rochester, New York to record its debut album, Metal Up Your ###, with production duties handled by Paul Curcio.[12] Band members decided to kick Mustaine out of the band due to drug and alcohol abuse and violent behavior just prior to the sessions on April 11, 1983.[13] Exodus guitarist Kirk Hammett flew in to replace Mustaine the same afternoon.
Mustaine, who went on to found Megadeth, has expressed his dislike for Hammett in interviews. He said Hammett "stole my job."[14]Mustaine was "pissed off" because he believes Hammett became popular by playing the guitar leads that Mustaine wrote.[15] In a 1985 interview with Metal Forces, Mustaine slammed Hammett saying, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine."[16] On Megadeth's debut album Killing Is My Business... and Business Is Good! (1985), Mustaine included the song "Mechanix", which Metallica renamed to "The Four Horsemen" on Kill 'Em All. Mustaine said he did this to "straighten Metallica up", as Metallica referred to Mustaine as a drunk and said he could not play guitar.[16]Metallica's first live performance with Hammett was on April 16, 1983 at the nightclub The Showplace in Dover, New Jersey.[11]
The band's debut album was initially to be titled Metal Up Your ###. Due to conflicts with its record label and the distributors' refusal to release an album with that name, it was renamed Kill 'Em All. Released on Megaforce Records in the United States and Music for Nations in Europe, the album reached number 120 on the Billboard 200 in 1988, [17] and although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the Kill 'Em All for One tour with Raven to support the release.[18] In February 1984, Metallica supported Venom on the Seven Dates of Hell tour, where the band performed in front of 7, 000 people at the Aardschok Festival in Zwolle, Netherlands.[19]
Metallica recorded its second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark. Released in August 1984, the album reached number 100 on the Billboard 200.[17] A French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Other songs on the album include "For Whom the Bell Tolls", "Fade to Black", "Creeping Death" (which tells the biblical story of the Hebrews' exodus from slavery in Egypt, focusing on the final plague that was visited on the Egyptians), and theinstrumental "The Call of Ktulu". Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu".[19]
Master of Puppets (1984–1986)

Metallica in 1985
Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a September 1984 Metallica concert. Impressed with what they saw, they signed Metallica to Elektra Records and made the band a client of Q-Prime Management.[20]Metallica's burgeoning success was such that the band's British label Music for Nations released a limited edition "Creeping Death" single, which sold 40, 000 copies as an import in the U.S. Two of the three songs on the record (cover versions of Diamond Head's "Am I Evil?", and Blitzkrieg's "Blitzkrieg") appeared on the 1989 Elektra reissue of Kill 'Em All.[21] Metallica embarked on its first major European tour with Tank to an average crowd of 1, 300. Returning to the U.S. marked a tour co-headlining with W.A.S.P. and Armored Saint supporting. Metallica played its largest show at the Monsters of Rock festival on August 17, 1985, with Bon Jovi and Ratt at Donington Park in England, playing in front of 70, 000 people. A show in Oakland, California, at the Day on the Greenfestival saw the band play in front of a crowd of 60, 000.[20]
Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios and was released in March 1986. The album reached number 29 on the Billboard 200, and spent 72 weeks on the chart.[22] The album was the band's first to be certified gold on November 4, 1986, and was certified six times platinum in 2003.[23] Steve Huey of Allmusic considered the album "the band's greatest achievement".[24] Following the release of the album, Metallica supported Ozzy Osbourne for a United States tour.[20] Hetfield broke his wrist skateboarding down a hill and continued the tour performing vocals, with guitar technician John Marshall playing rhythm guitar.[25]
Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]
…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights to the film. The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]
Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]

Burton's death and Garage Days Re-Revisited (1986–1987)

A memorial for Burton in Ljungby, Sweden
On September 27, 1986, during the European leg of Metallica's Damage, Inc. Tour, members drew cards to see which bunk of the tour bus they would sleep in. Burton won and chose to sleep in Hammett's bunk. Around dawn near Dörarp, Sweden, the bus driver lost control and skidded, which caused the bus to flip several times. Ulrich, Hammett, and Hetfield sustained no serious injuries; however, bassist Burton was pinned under the bus and was killed. Hetfield recalls, "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't ###ing do that!' I already wanted to kill the [bus driver]. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."[25] Burton's death left Metallica's future in doubt. The three remaining members decided that Burton would want them to carry on, and with the Burton family's blessings, the band sought a replacement.[26]
Roughly 40 people tried out for auditions including Hammett's childhood friend, Les Claypool ofPrimus, Troy Gregory of Prong, and Jason Newsted, formerly of Flotsam and Jetsam. Newsted learned Metallica's entire setlist, and after the audition Metallica invited him to Tommy's Joynt in San Francisco. Hetfield, Ulrich, and Hammett decided that Newsted was the one to replace Burton, and Newsted's first live performance with Metallica was at the Country Club in Reseda, California. The members took it on themselves to "initiate" Newsted by tricking him into eating a ball of wasabi.[26]
After Newsted joined Metallica, the band left its El Cerrito practice space (dubbed "the Metalli-mansion", a suburban house formerly rented by sound engineer Mark Whitaker) and relocated to the adjacent cities of Berkeley and Albany[27] before eventually settling in the Marin County city of San Rafael, North of San Francisco.[28]
Metallica finished its tour in the early months of 1987. In March 1987, Hetfield broke his wrist a second time skateboarding, forcing the band to cancel a Saturday Night Live appearance. In August 1987 an all-covers extended play titled The $5.98 E.P.: Garage Days Re-Revisitedwas released. The extended play was recorded in an effort to utilize the band's newly constructed recording studio, test out the talents of Newsted, and to relieve grief and stress following the death of Burton. A video titled Cliff 'Em All was released in 1987 commemorating Burton's three years in Metallica. Footage included bass solos, home videos, and pictures.[29]
…And Justice for All (1988–1990)

Newsted performing live in 1989
…And Justice for All, the band's first studio album since Burton's death, was released in 1988. The album was a commercial success, reaching number six on the Billboard 200, the band's first album to enter the top 10.[17] The album was certified platinum nine weeks after its release.[30]Newsted's bass was purposely turned down on the album as a part of the continuous "hazing" he received, and his musical ideas were ignored (However, he did receive writing credit on the track "Blackened").[31] There were complaints with the production; namely, Steve Huey of Allmusicnoted Ulrich's drums were clicking more than thudding, and the guitars "buzz thinly".[32] TheDamaged Justice tour followed to promote the album.[33]
In 1989, Metallica received its first Grammy Award nomination for …And Justice for All, in the newBest Hard Rock/Metal Performance Vocal or Instrument category. Metallica was the favorite to win; however, the award was given to Jethro Tull for the album Crest of a Knave.[34] The result generated controversy among fans and the press, as Metallica was standing off-stage waiting to receive the award after performing the song "One". Jethro Tull had been advised by its manager not to attend the ceremony as he was expecting Metallica to win.[34] The award was named inEntertainment Weekly's "Grammy's 10 Biggest Upsets".[35]
Following the release of …And Justice for All, Metallica released its debut music video for the song "One". The band performed the song in an abandoned warehouse, and footage was remixed with the film, Johnny Got His Gun. Rather than organize an ongoing licensing deal, Metallica purchased the rights to the film. The remixed video was submitted to MTV, with the alternate performance-only version held back in the event that MTV banned the remix version. MTV accepted the remix version, and the video was viewers' first exposure to Metallica. It was voted number 38 in 1999 when MTV aired its "Top 100 Videos of All Time" countdown, [36] and was featured in the network's 25th Anniversary edition of ADD Video, which showcased the most popular videos on MTV in the last 25 years.[37]
Metallica (1990–1993)
In October 1990, Metallica entered One on One studio in North Hollywood to record its next album. Bob Rock, who had worked with the bands such as The Cult, Bon Jovi, and Mötley Crüe, was hired as the producer. Metallica (also known as The Black Album) was remixed three times, cost $1 million, and ended three marriages.[38] Although the release was stalled until 1991, Metallica debuted at number one on the Billboard 200, selling 650, 000 units in its first week.[39] The album was responsible for bringing Metallica to the attention of the mainstream and has been certified 15 times platinum in the United States, which makes it the 26th best-selling album in the country.[5] The making of Metallica and the following tour was documented in A Year and a Half in the Life of Metallica. Dubbed the Wherever We May Roam Tour, it lasted 14 months and included dates in the United States, Japan, and the UK.[38] In April 1992, Metallica appeared at the Freddie Mercury Tribute Concert, performing a two-song set. Hetfield later performed "Stone Cold Crazy" with the remaining members of Queen andTony Iommi.[40]
On August 8, 1992, during the co-headlining Guns N' Roses/Metallica Stadium Tour with Guns N' Roses, Hetfield suffered second and third degree burns to his arms, face, hands, and legs. There was confusion with the new pyrotechnics setup, which resulted with Hetfield walking into a 12-foot (3.7 m) flame during "Fade to Black". Newsted recalls Hetfield's skin was "bubbling like on The Toxic Avenger".[41] Guitar technician John Marshall, who had previously filled in on rhythm guitar and was now playing in Metal Church, replaced Hetfield for the remainder of the tour as Hetfield was unable to play guitar, although he was able to sing. The band's first box set was released in November 1993 called Live ###: Binge & Purge. The collection contained three live CDs, three home videos, and a book filled with riders and letters.[41]
Load, ReLoad, Garage Inc., and S&M (1994–1999)
After almost three years of touring to support Metallica, including a headlining performance at Woodstock '94, Metallica returned to the studio to write and record its sixth studio album. The band went on a brief hiatus in the summer of 1994 and played three outdoor shows which included headlining Donington Park in the United Kingdom, supported by Slayer, Skid Row, Slash's Snakepit, Therapy?, and Corrosion of Conformity. The short tour was titled Escape from the Studio '95. The band spent roughly one year writing and recording new songs, resulting in the release of Load in 1996, which debuted at number one on the Billboard 200 and ARIA Charts, marking the band's second number one.[17] The cover of Load was created by Andres Serrano, and was called Blood and Semen III. Serrano pressed a mixture of his ownsemen and bovine blood between sheets of plexiglass.[42] The release marked a change in musical direction for the band and a new image with band members receiving haircuts. Metallica headlined the alternative rock festival Lollapalooza in the summer of 1996.[31][43]
During early production of the album, the band had produced enough material for a double album. It was decided that half of the songs were to be released, and the band would continue to work on the remaining songs and release them the following year. This resulted in the follow-up album, ReLoad. The cover was created by Serrano, this time using a mixture of blood and urine.[42] ReLoad debuted number one on theBillboard 200, and reached number two on the Top Canadian Album chart.[17] Hetfield noted in the 2004 documentary film Some Kind of Monster that the songs on these albums were initially thought by the band to be of average quality, and were "polished and reworked" until judged to be releasable.[44] To promote ReLoad, Metallica performed on NBC's Saturday Night Live in December 1997, performing "Fuel" and "The Memory Remains" with Marianne Faithfull.[45]
In 1998, Metallica compiled a double album of cover songs titled Garage Inc.. The first disc contained newly recorded covers of songs by bands such as Diamond Head, Killing Joke, The Misfits, Thin Lizzy, Mercyful Fate, and Black Sabbath. The second disc featured the originalThe $5.98 E.P.: Garage Days Re-Revisited, which had become a scarce collectors' item. The album entered the Billboard 200 at number two.[45][46]
On April 21 and April 22, 1999, Metallica recorded two performances with the San Francisco Symphony Orchestra conducted by Michael Kamen. Kamen, who had previously worked with producer Rock on "Nothing Else Matters", approached the band in 1991 with the idea of pairing Metallica's music with a symphony orchestra. Kamen and his staff of over 100 composed additional orchestral material for Metallica songs. Metallica wrote two new Kamen-scored songs for the event, "No Leaf Clover" and "-Human". The audio recording and concert footage were released in 1999 as the album and concert film S&M. It entered the Billboard 200 at number two, and the Australian ARIA charts and Top Internet Albums chart at number one.[17]
Napster controversy (2000–2001)
In 2000, Metallica discovered that a demo of its song "I Disappear", which was supposed to be released in combination with the Mission: Impossible II soundtrack, was receiving radio airplay. Tracing the source of the leak, the band found the file on the Napster peer-to-peer file-sharing network, and also found that the band's entire catalogue was freely available.[47] Legal action was initiated against Napster with Metallica filing a lawsuit at the U.S. District Court, Central District of California, alleging that Napster violated three areas of the law: copyright infringement, unlawful use of digital audio interface device, and the Racketeer Influenced and Corrupt Organizations Act (RICO).[31][48]

Ulrich led the case against Napster
Though the lawsuit named three universities for copyright infringement, the University of Southern California, Yale University, and Indiana University, no individuals were named. Yale and Indiana complied and blocked the service from its campuses, and Metallica withdrew the universities' inclusion in the lawsuit.[49] Southern California, however, had a meeting with students to figure out what was going to happen with Napster. School administrators wanted it banned as its usage accounted for 40 % of the bandwidth not being used for educational purposes.[50]
Metallica hired online consulting firm NetPD to monitor the Napster service for a weekend. A list of 335, 435 Napster users who were believed to be sharing Metallica's music was compiled, and the 60, 000 page document was delivered to Napster's office as Metallica requested the users be banned from the service.[51] The users were banned, and rap artist Dr. Dre joined the lawsuit against Napster, which resulted in an additional 230, 142 Napster users banned.[52]
Ulrich provided a statement to the Senate Judiciary Committee regarding copyright infringement on July 11, 2000.[47] Federal Judge Marilyn Hall Patel ordered the site place a filter on the program in 72 hours or be shut down.[53] A settlement was reached between Metallica and Napster when German media conglomerate Bertelsmann AGBMG showed interest to purchase the rights to Napster for $94 million. Under the terms of settlement, Napster agreed to block users who shared music by artists who do not want their music shared.[54] However, on June 3, 2002 Napster filed for Chapter 11 protection under U.S.bankruptcy laws. On September 3, 2002, an American bankruptcy judge blocked the sale to Bertelsmann and forced Napster to liquidate its assets according to Chapter 7 of the U.S. bankruptcy laws.[55]
At the 2000 MTV Video Music Awards, Ulrich appeared in a skit with host Marlon Wayans that blasted the idea of using Napster to share music. Marlon played a college student sitting in his dorm room listening to Metallica's "I Disappear". Ulrich walked in and asked for an explanation. On receiving Wayans' excuse that using Napster was just "sharing", Ulrich retorted that Marlon's idea of sharing was "borrowing things that were not yours without asking." He called in the Metallica road crew, who proceeded to confiscate all of Wayans' belongings, leaving him almost nude in an empty room. Napster creator Shawn Fanning responded later in the ceremony by presenting an award wearing a Metallica shirt, saying, "I borrowed this shirt from a friend. Maybe, if I like it, I'll buy one of my own."[56]
Newsted's departure and St. Anger (2001–2005)
As plans were being made to enter the recording studio, Newsted left the band on January 17, 2001. His statement revealed his departure was based on "private and personal reasons, and the physical damage I have done to myself over the years while playing the music that I love."[57] During a Playboy interview with Metallica, Newsted revealed intentions he wanted to release an album with his side project, Echobrain. Hetfield was against the idea and said, "When someone does a side project, it takes away from the strength of Metallica" and a side project is "like cheating on your wife in a way".[31] Newsted countered his statement by saying Hetfield recorded vocals for a song in the film South Park: Bigger, Longer & Uncut, and appears on two Corrosion of Conformity albums. Hetfield replied, "My name isn't on those records. And I'm not out trying to sell them", and pondered questions such as, "Where would it end? Does he start touring with it? Does he sell shirts? Is it his band?"[31]

Robert Trujillo was announced as Metallica's new bassist on February 24, 2003
In April 2001, filmmakers Joe Berlinger and Bruce Sinofsky began following Metallica to document the recording process of the next studio album. Over two years, more than 1, 000 hours of footage was recorded. On July 19, 2001, before preparations to enter the recording studio, Hetfield enteredrehab due to "alcoholism and other addictions". All recording plans were put on hiatus and the band's future was in doubt.[58] However, when Hetfield returned on December 4, 2001, the band returned to the recording studio and Hetfield was required to work four hours a day, noon to 4 pm, and spend the rest of his time with his family. The footage recorded by Berlinger and Sinofsky was compiled into the documentary, Some Kind of Monster, which premiered at the Sundance film festival. In the documentary, Newsted described his former bandmates' decision to hire a therapist to help solve their problems which they could have solved on their own as "really ###ing lame and weak".[44]
Metallica held auditions for Newsted's permanent replacement in early 2003, after St Anger's completion, for which Rock recorded bass. Bassists that auditioned included Pepper Keenan, Jeordie White, Scott Reeder, Eric Avery, Danny Lohner, and Chris Wyse. Following three months of auditions, Robert Trujillo, formerly of Suicidal Tendencies and Ozzy Osbourne's band, was chosen as the new bassist.[44] As Metallica moved on, Newsted joined Canadian thrash metal band Voivod in 2002, and was Trujillo's replacement in Osbourne's band during the 2003 Ozzfesttour, which included Voivod as part of the touring bill.[59]
In June 2003, Metallica's eighth studio album, St. Anger, debuted at number one on the Billboard200, and drew mixed reactions from critics.[60] Ulrich's "steely" sounding snare drum, and the absence of guitar solos received particular criticism.[60] Kevin Forest Moreau of Shakingthrough.net commented that "the guitars stumble in a monotone of mid-level, processed rattle; the drums don't propel as much as struggle to disguise an all-too-turgid pace; and the rage is both unfocused and leavened with too much narcissistic navel-gazing", [61] and Brent DiCrescenzo of Pitchfork Media described it as "an utter mess".[62] However, Blender magazine called it the "grimiest and grimmest of the band's Bob Rock productions", and New York Magazine called it "utterly raw and rocking".[60] The title track, "St. Anger", won the Grammy Award for Best Metal Performance in 2004, and was used as the official theme song for WWE'sSummerSlam 2003.[63]
Before the band's set at the 2004 Download Festival in England, Ulrich was rushed to the hospital after having an anxiety seizure, [64] and was unable to perform.[65] Hetfield searched for volunteers at the last minute to replace Ulrich. Slayer drummer Dave Lombardo, and Slipknotdrummer Joey Jordison volunteered. Lombardo performed the songs "Battery" and "The Four Horsemen", Ulrich's drum technician Flemming Larsen performed "Fade to Black", with Jordison performing the remainder of the set.[65] Having toured for two years in support of St. Angeron the Summer Sanitarium Tour 2003 and the Madly in Anger with the World tour, with multi-platinum rockers Godsmack in support, Metallica took a break from performing and spent most of 2005 with friends and family. However, for two shows on November 13, 2005, and November 15, 2005, Metallica opened for The Rolling Stones at AT&T Park in San Francisco.[66]