Early life.

Quinn was born Manuel Antonio (according to his baptismal record) Rodolfo Quinn Oaxaca on April 21, 1915, in Chihuahua, Mexico, during the Mexican Revolution to Manuela "Nellie" (née Oaxaca) and Francisco "Frank" Quinn. Frank Quinn was born to an Irish immigrant father from County Cork and a Mexican mother. Frank reportedly rode with Mexican revolutionary Pancho Villa, then later moved to the East Los Angeles neighborhood of City Terrace and became an assistant cameraman at a movie studio. In Quinn's autobiography, "The Original Sin: A Self-portrait by Anthony Quinn", he denied being the son of an "Irish adventurer" and attributed that tale to Hollywood publicists.  When he was six years old, Quinn attended a Catholic church (even thinking he wanted to become a priest). At age eleven, however, he joined the Pentecostals in the International Church of the Foursquare Gospel (the Pentecostal followers of Aimee Semple McPherson). For a time he played in the church's band and was an apprentice preacher with the renowned evangelist. "I have known most of the great actresses of my time, and not one of them could touch her", Quinn once said of the spellbinding McPherson, whom he credited with inspiring Zorba's gesture of the dramatically outstretched hand.  Quinn grew up first in El Paso, Texas, and later in East Los Angeles and in the Echo Park area of Los Angeles, California. He attended Hammel Street Elementary School, Belvedere Junior High School, Polytechnic High School and finally Belmont High School in Los Angeles, with future baseball player and "General Hospital" star John Beradino, but left before graduating. Tucson High School in Arizona, many years later, awarded him an honorary high school diploma.  As a young man, Quinn boxed professionally to earn money, then studied art and architecture under Frank Lloyd Wright, at Wright's Arizona residence and his Wisconsin studio, Taliesin. The two men became friends. When Quinn mentioned that he was drawn to acting, Wright encouraged him. Quinn said he had been offered $800 per week by a film studio and didn't know what to do. Wright replied, "Take it, you'll never make that much with me." During a 1999 interview on the show "Private Screenings with Robert Osborne", Quinn said the contract was for only $300 per week.

Career.

1940s-1950s.

After a short time performing on the stage, Quinn launched his film career performing character roles in the 1936 films "The Plainsman" (1936) as a Cheyenne Indian after Custer's defeat with Gary Cooper, "Parole" (in which he made his debut) and "The Milky Way". He played "ethnic" villains in Paramount films such as "Dangerous to Know" (1938) and "Road to Morocco", and played a more sympathetic Crazy Horse in "They Died with Their Boots On" with Errol Flynn.  A breakthrough in his career occurred in 1941 when he received an offer to play a matador in the bullfighting-themed "Blood and Sand" with Tyrone Power and Rita Hayworth. In 1942, he co-starred alongside Power in another critical and financial success, the swashbuckling adventure "The Black Swan". In 1943, he had a role in the Oscar-nominated western "The Ox-Bow Incident". He co-starred in "Sinbad the Sailor" (1947) with Douglas Fairbanks, Jr. and Maureen O'Hara.  By 1947, he had appeared in more than fifty films and had played a variety of characters, including Indians, Mafia dons, Hawaiian chiefs, Filipino freedom-fighters, Chinese guerrillas, and Arab sheiks. He returned to the theater, replacing Marlon Brando as Stanley Kowalski in "A Streetcar Named Desire" on Broadway. In 1947, he became a naturalized citizen of the United States. He returned to Hollywood in the early 1950s and was cast in a series of B-adventures such as "Mask of the Avenger" (1951). He solidified his position as one of Hollywood's premier actors in Elia Kazan's "Viva Zapata!" (1952) opposite Marlon Brando. Quinn's performance as Zapata's brother won Quinn an Oscar for Best Supporting Actor while Brando lost the Oscar for Best Actor to Gary Cooper in "High Noon". He holds the distinction of being the first Mexican-American to win an Academy Award.

European films and international success.

In the late 1950s, Quinn traveled to Rome where he collaborated with several renowned Italian filmmakers and established himself as a star of world cinema. He worked with Dino De Laurentiis and Carlo Ponti in the Kirk Douglas film "Ulysses", and starred as Attila the Hun with Sophia Loren in "Attila". In 1953, he turned in one of his best performances as a dim-witted, thuggish and volatile strongman in Federico Fellini's Oscar winning "La Strada" (1954) opposite Giulietta Masina.  Quinn won his second Oscar for Best Supporting Actor for his portrayal of painter Paul Gauguin in Vincente Minnelli's "Lust for Life" (1956). He also starred as Quasimodo in the French language film "The Hunchback of Notre Dame". Even after his return to the United States, Quinn would continue to periodically appear in European films. His frequent portrayal of Italian characters and appearance in Italian films led to the popular misconception that he was in fact Italian.

Return to Hollywood and Broadway.

The following year, he received an Oscar nomination for Best Actor for his part in George Cukor's "Wild Is the Wind". He starred in the film "The Savage Innocents" (1959) as Inuk, an Eskimo who finds himself caught between two clashing cultures. He teamed with Kirk Douglas once again in the western "Last Train from Gun Hill" (1959).  He appeared on Broadway to great acclaim in "Becket", as King Henry II to Laurence Olivier's Thomas Becket in 1960. His performance earned him a Tony Award nomination for best leading actor and Becket received the award for best play. An erroneous story arose in later years that during the run Quinn and Olivier switched roles and Quinn played Becket to Olivier's King. In fact, Quinn left the production for a film, never having played Becket, and director Peter Glenville suggested a road tour with Olivier as Henry. Olivier happily agreed and Arthur Kennedy took on the role of Becket for the tour and brief return to Broadway.  As the decade ended, Quinn allowed his age to show and began his transformation into a major character actor. His physique filled out, his hair grayed, and his once smooth, swarthy face weathered and became more rugged. He played a Greek resistance fighter in "The Guns of Navarone" (1961), an aging boxer in "Requiem for a Heavyweight", and the Bedouin shaikh Auda abu Tayi in "Lawrence of Arabia" (both 1962). Lawrence of Arabia would go on to win the Oscar and Golden Globe for best picture, and Quinn received a Golden Globe nomination for best actor alongside co-star Peter O'Toole. He also played the title role in the 1961 film "Barabbas", based on a novel by Pär Lagerkvist. In 1962, he returned to Broadway, playing the role of Caesario Grimaldi in the Tony Award nominated "Tchin-Tchin". The success of "Zorba the Greek" in 1964 resulted in another Oscar nomination for Best Actor. Other films included "The 25th Hour", "The Magus", "La Bataille de San Sebastian" and "The Shoes of the Fisherman". In 1969, he starred in "The Secret of Santa Vittoria" with Anna Magnani; each was nominated for a Golden Globe Award.

1970s.

In 1971, after the success of a TV movie named "The City", where Quinn played Mayor Thomas Jefferson Alcala, he starred in the television series, "The Man and the City". Quinn's subsequent television appearances were sporadic, including "Jesus of Nazareth".  In 1972, he co-starred with Yaphet Kotto in the blaxploitation film "Across 110th Street". He played NYPD Captain Frank Martelli, who along with Kotto, was investigating a robbery-homicide of Italian and Black gangsters in Harlem, New York City. He played the old racist violent Captain against Kotto's modern, educated, enlightened Lieutenant.  In 1976, he starred in the movie "Mohammad, Messenger of God" (also known as "The Message"), about the origin of Islam, as Hamza, a highly respected uncle of Mohammad, the prophet of Islam. In 1981, he starred in "Lion of the Desert". Quinn played real-life Bedouin leader Omar Mukhtar who fought Benito Mussolini's Italian troops in the deserts of Libya.

Later career.

In 1983, he reprised his role as Zorba for 362 performances in a successful musical version, called "Zorba", opposite fellow film co-star Lila Kedrova, reprising her role as Madame Hortense. Quinn performed in the musical both on Broadway and at the Kennedy Center in Washington, D.C.  In 1989, Quinn appeared as a homeless man in Jimmy Buffett's music video for 'Take Another Road' for his album Off to See the Lizard. The video was filmed at the abandoned Islander Drive-In Theater in Key West, Florida.  In 1990, he starred in "The Old Man and the Sea", a television movie based on the novel by Ernest Hemingway. Quinn's film career slowed during the 1990s, but he nonetheless continued to work steadily, appearing in "Revenge" (1990), "Jungle Fever" (1991), "Last Action Hero" (1993), "A Walk in the Clouds" (1995) and "Seven Servants" (1996).  In 1994 Quinn played the role of Zeus in five television movies focusing on the legendary journeys of Hercules. These were, in order, "Hercules and the Amazon Women", "Hercules and the Lost Kingdom", "Hercules and the Circle of Fire", "Hercules in the Underworld", and "Hercules in the Maze of the Minotaur"

Mafia.

Quinn made an appearance at the John Gotti trial, according to John H. Davis, author of "Mafia Dynasty: The Rise and Fall of the Gambino Crime Family". He told reporters he wanted to play Paul Castellano, the boss of the Gambino family after Carlo Gambino. Gotti had Castellano murdered, becoming the boss of the Gambino family thereafter. Gotti was on trial concerning a variety of felony charges when Quinn visited the courtroom.  Although he tried to shake hands with Gotti, federal marshals prevented him from doing so, Davis says. The actor interpreted the testimony of Sammy ("The Bull") Gravano, Gotti's underboss, against Gotti as "a friend who betrays a friend." He had not come to "judge" Gotti, Quinn insisted, but only because he wanted to portray Castellano, who inspired the actor because he had had a "thirty-year-old" mistress, which Quinn believed was "a beautiful thing". He would later portray Gambino family underboss Aniello Dellacroce in the 1996 HBO film "Gotti" as well as Joe Masseria in the 1991 film "Mobsters".  Quinn was nominated for a Golden Globe for his performance as Dellacroce.  Quinn had a personal relationship with New York City Mafia crime boss Frank Costello and other Genovese gangsters.

Painting and writing.

Art critic Donald Kuspit explains, "Examining Quinn's many expressions of creativity together—his art, collecting, and acting—we can see that he was a creative genius".  Early in life Quinn had an interest in painting and drawing. Throughout his teenage years he won various art competitions in California and focused his studies at Polytechnic High School in Los Angeles on drafting. Later, Quinn studied briefly under Frank Lloyd Wright through the Taliesin Fellowship — an opportunity created by winning first prize in an architectural design contest. Through Wright's recommendation, Quinn took acting lessons as a form of post-operative speech therapy, which led to an acting career that spanned over six decades.  Apart from art classes taken in Chicago during the 1950s, Quinn never attended art school; nonetheless, taking advantage of books, museums, and amassing a sizable collection, he managed to give himself an effective education in the language of modern art. By the early 1980s, his work had caught the eyes of various gallery owners and was exhibited internationally, in Mexico City, Los Angeles, New York City and Paris, and. His work is now represented in both public and private collections throughout the world.  He wrote two memoirs, "The Original Sin" (1972) and "One Man Tango" (1997), a number of scripts, and a series of unpublished stories currently in the collection of his archive.

Civil rights activism.

Quinn, who experienced discrimination growing up in Los Angeles, participated in various civil rights and social causes. He provided funding for the Latino advocacy group, the Spanish-Speaking People's Congress. He assisted in fundraising efforts for the legal defense of Mexican American youth in the racially charged Sleepy Lagoon murder trial in 1942. While in Paris, he and several other prominent Americans, composed a petition endorsing the 1963 March on Washington. The petition, which was reprinted in several high-profile publications, was intended to rally support among Americans living abroad. In 1969, he visited with Native American student activists occupying Alcatraz Island in protest, promising to offer assistance. In 1970, Quinn was a panelist at the Mexican-American Conference. In 1971, he narrated a documentary film by the Equal Employment Opportunity Commission discussing job discrimination faced by Hispanic Americans. He was a supporter of the United Farm Workers organization led by his friend and labor activist Cesar Chavez.

Personal life.

Quinn's first wife was the adopted daughter of Cecil B. DeMille, the actress Katherine DeMille; they wed in 1937. The couple had five children: Christopher (1938–1941), Christina (born December 1, 1941), Catalina (born November 21, 1942), Duncan (born August 4, 1945), and Valentina (born December 26, 1952). Their first child, Christopher, aged two, drowned in the lily pond of next-door neighbor W. C. Fields.  In 1965, Quinn and DeMille were divorced, because of his affair with Italian costume designer Jolanda Addolori, whom he married in 1966. They had three children: Francesco Quinn (March 22, 1963 – August 5, 2011), Danny Quinn (born April 16, 1964), and Lorenzo Quinn (born May 7, 1966).  In the 1970s, during his marriage to Addolori, Quinn also had two children with an event producer in Los Angeles named Friedel Dunbar: Sean Quinn (born February 7, 1973) and Alexander Anthony Quinn (born December 30, 1976).  By the 1990s, Quinn then had two children with his secretary, Katherine Benvin; daughter Antonia Patricia Rose Quinn (born July 23, 1993) and son Ryan Nicholas Quinn (born July 5, 1996). His marriage with Addolori finally ended in divorce in August 1997. He then married Benvin in December 1997. Quinn and Benvin remained married until his death, in June 2001.

Death.

Quinn spent his last years in Bristol, Rhode Island. He died of respiratory failure, pneumonia and throat cancer on June 3, 2001, in Boston, Massachusetts, at the age of 86.  His funeral was held in the First Baptist Church in America in College Hill, Providence, Rhode Island. Late in life, he had rejoined the Foursquare evangelical Christian community. He is buried in a family plot in Bristol, Rhode Island.

Tributes and legacy.

On January 5, 1982, the Belvedere County Public Library in East Los Angeles was renamed in honor of Anthony Quinn. The present library sits on the site of his family's former home.  In 1984, artist Eloy Torrez produced a 70-foot high portrait mural of Quinn titled both "Anthony Quinn" and "The Pope of Broadway" in Los Angeles. It depicts Quinn in his famous "Zorba the Greek" role, and it remains one of the largest murals in California, United States.  In his birthplace Chihuahua, Mexico, there is a statue of Quinn doing his famous "Zorba the Greek" dance.  There is an Anthony Quinn Bay and Beach in Rhodes, Greece, just south of the village of Faliraki (aka Falirakion or Falirákion). The land was bought by Quinn during the filming of "The Guns of Navarone" in Rhodes; however, it was reclaimed by the Greek government in 1984 due to a change in property law.  Since 2002, the National Council of La Raza has given the "Anthony Quinn Award for Excellence in Motion Pictures" as an ALMA Award. His wife Katherine Benvin Quinn established the "Anthony Quinn Foundation" which advocates the importance of arts in education.

Manuel Antonio Rodolfo Quinn Oaxaca (April 21, 1915 – June 3, 2001), known professionally as Anthony Quinn, was a Mexican-American actor, painter, writer and film director who achieved international renown. He was known for his portrayal of earthy, passionate characters "marked by a brutal and elemental virility" in numerous critically-acclaimed movies both in Hollywood and abroad; including "La Strada", "The Guns of Navarone", "Guns for San Sebastian", "Lawrence of Arabia", "The Shoes of the Fisherman", "The Message", "Lion of the Desert", and "A Walk in the Clouds". His Oscar-nominated titular role in "Zorba the Greek" is considered one of the most iconic performances in cinematic history.

Anthony Quinn, vlastním jménem Antonio Rudolfo Oaxaca Quinn, (21. dubna 1915, Chihuahua, Mexiko – 3. června 2001, Boston, USA) byl mexicko-americký herec, malíř a scenárista, dvojnásobný držitel ceny Americké filmové akademie Oscar.


History.

Originally called "Tolbiac-Nationale" in the initial Line 14 project, the opening of this station as part of the link between Saint Lazare and Maison Blanche station, was delayed due to a financial shortfall. The plans for Line 14 were revised and a first stage was embarked upon, in which the line ran from Madeleine to Bibliothèque François Mitterrand. This section was opened in 1998, from which the present station Olympiades was used as a temporary maintenance facility.  A new extension of the line of 676 metres was later decided upon and allocated funds; the maintenance facility was moved further down the tunnel. Like the rest of Line 14, the extension is essentially composed of a monotubular tunnel containing two tracks, one for each direction.  The extension was delayed by almost a year after its construction caused the collapse of the playground of Auguste-Perret school, located above one of the underground facilities. Further problems were encountered with the extension's automatisation.  The chosen name provoked tensions between the RATP (the Parisian transport authority), the city of Paris and the Comité National Olympique et Sportif Français (French National Olympic and Sport Committee), which owned the name. An agreement reached at the start of July 2006 found a compromise by allowing the use of this name within the restricted context of public transport.

Architecture.

The station's architecture is in keeping with the other stations of Line 14. It is marked by concrete vaults as well as a high ceiling and platforms that are wider than average in the Paris Metro system.

Future.

Olympiades will remain the terminus of Line 14 for several years. In the future (around 2020-2030) the line is expected to be extended to Maison Blanche to facilitate a connection with Line 7. It may also take over one of Line 7's branches, to either Villejuif or Ivry. The transport project of the Grand Paris plans a terminus near the Institut Gustave Roussy, in Villejuif.

Olympiades ( ) is the southern terminus of Line 14 of the Paris Métro. The station was formally inaugurated on 15 June 2007 in the presence of the Mayor of Paris, Bertrand Delanoë. It was opened to the general public at just before 5:30 a.m. on 26 June 2007. It takes its name from the area of high-rise residential tower blocks known as Les Olympiades in the heart of Paris's 13th arrondissement, to the east of the station Tolbiac, a quarter of Paris that was previously poorly served by the Metro. This area also contains the Tolbiac centre of the University of Paris and the largest Chinatown within Paris.

Olympiades je jižní konečná stanice linky 14, která se nachází ve 13. obvodu v Paříži v ulici "de Tolbiac". Stanice slouží hustě obydlené oblasti na jihu Paříže a pro univerzitní centrum Tolbiac přidružené k univerzitě Paris 1 Panthéon-Sorbonne.


Beginning and success.

Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble's band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.  When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records Group, and allowed them to sign later Philadelphia International Records artists The O'Jays and The Three Degrees. When Chess Records Group's management changed hands in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records. Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff's new Philadelphia International Records.  The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.  The label's major hits included: "TSOP (The Sound of Philadelphia)" by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show "Soul Train"); "Ain't No Stoppin' Us Now" by McFadden & Whitehead (writers and producers with the label), 1979; "Back Stabbers" and "Love Train" by The O'Jays, 1972/3; "If You Don't Know Me By Now" and "The Love I Lost" by Harold Melvin & The Blue Notes, 1972/3; "Me and Mrs. Jones" by Billy Paul, 1972; "When Will I See You Again" by The Three Degrees, 1974; and "You'll Never Find Another Love Like Mine" by Lou Rawls, 1976.  The label had a distribution deal with CBS Records until 1984. Distribution of the catalog from 1976 onwards was then taken over by EMI Records, but CBS continued to distribute material recorded up to 1976. In 2007, Sony's Legacy Recordings regained the rights to Philadelphia International's full catalog and the following year, PIR/Legacy released a box set titled "Love Train: The Sound of Philadelphia".  Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer and later studio owner Joe Tarsia recording many of the sessions. More than 30 resident studio musicians, known collectively as MFSB "Mother Father Sister Brother", were based at this studio and backed up most of these recordings. Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin, Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.  Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons' first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled "The Jacksons" featured the platinum-selling single "Enjoy Yourself", and a second album, "Goin' Places" followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.  In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary's name was changed to TSOP Records, from the aforementioned 1974 hit single, "TSOP (The Sound of Philadelphia)". Artists for Excel/Gamble/TSOP included Dee Dee Sharp, Archie Bell & the Drells, and The People's Choice, who had a top 10 single on TSOP in 1976 with "Do It Any Way You Wanna." Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.  Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I'll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single "I Got the Notion, You Got the Motion" was produced by his brother and The Spinners' member Philippe Wynne.

Later period.

By the mid 1980s, Philadelphia International Records ended their distribution deal with Columbia, who they had worked with since their inception. The label was soon after picked up by Capitol/EMI records. They continued to make hits, including Shirley Jones' "Do You Get Enough Love," but their most successful years were behind them.  In the 1990s, Philadelphia International launched a new subsidiary, Uncensored Records. Featuring Damon and No Question, this label releases hip hop music. Philadelphia International now largely concentrates on licensing its music catalog worldwide and has issued few new recordings since the mid-80s, when Gamble and Huff wound down their studio work together.  In 1989, Gamble and Huff were awarded their first Grammy Award. Simply Red's cover of "If You Don't Know Me By Now," written by Gamble and Huff, won the Grammy Award for Best R&B Song. 10 years later in 1999, Gamble and Huff were awarded the Lifetime Achievement Grammy from the National Academy of Recording Arts and Sciences. In 2008, the duo were inducted in the Rock and Roll Hall of Fame in the non-performer category, joining their band the O'Jays who were inducted in 2005.  In November, 2009, PBS aired the two-part special, "Love Train: The Sound of Philadelphia", which celebrates the legacy of Gamble & Huff and the family of Philadelphia International Records artists. The concert was shot in front of a live audience on Saturday, June 7, 2008 at the Borgata Hotel and Casino in Atlantic City, and showcased TSOP artists.  In February 2010, Gamble and Huff suffered a setback when fire swept through parts of their offices on Philadelphia's Broad Street. The building was previously the home of another iconic part of the city's musical heritage, Cameo-Parkway Records, based there during the 1950s and 1960s, and has become a tourist attraction. The fire was started deliberately by a man who had broken into the offices while so intoxicated by alcohol (in excess of four times the legal limit for driving a vehicle) that he had no recollection of the crime afterward.  In August 2011, in honor of the 40th anniversary of the company, Philadelphia International Records launched TSOP Soul Radio, an online radio station that allows fans from all around the world the chance to tune in and listen to music and interviews from the legendary Gamble and Huff catalog.  The building that housed Philadelphia International Records located on Broad & Spruce Street was damaged by arson in 2010 and was effectively shut down. It was sold to local developer Dranoff Properties in 2014. On Saturday April 18, 2015 demolition started on the building. The new owners Dranoff Properties plan to build an SLS International Hotel at the site of the building which plans to open in Fall 2017.  Gamble and Huff have written over 3000 songs throughout their careers, making them two of the most efficient and productive songwriters of all time. They continue to write songs together from their homes in South Philadelphia.

Philly Soul.

Philadelphia soul, or Philly soul, was a form of soul music that came out of Philadelphia during the mid 1960s. It provided a smoother alternative to the deep soul of the 60s while maintaining the soul and emotion of popular R&B of the time. Philadelphia International Records was one of the most successful labels to capitalize on this new genre, and took it to the international stage with acts like the O'Jays and Teddy Pendergrass.  Philly Soul is known for its incorporation of lush string arrangements along with penetrating brass, and often tells very personal and emotional stories. The world renowned Philadelphia Orchestra's string section was often employed to play on many of Philadelphia International Record's tracks. Philly Soul is often considered a producer's genre, the essence of the genre coming mostly out of Gamble, Huff, Bell, and the other producers within PIR. Philly Soul, with its driving rhythms, later became the inspiration from which the disco craze of the 70s was born.

Discography.

Catalog numbers from 1971 to 1985 are part of CBS Records' overall numbering system, and therefore are discontinuous. Albums released from 1986-1990 were part of Capitol/EMI catalog numbering system. Catalog numbers for albums released after 1991 are from Philadelphia International's distribution deal with Zoo Entertainment.

Philadelphia International Records (PIR) is an American record label based in Philadelphia. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. It was famous for showcasing the Philadelphia soul music genre (also known as Philly soul) that was founded on the gospel, doo-wop, and soul music of the time. This Philly Soul sound later became a prominent and distinct era within R&B itself. During the 1970s the label released a string of worldwide hits which emphasized lavish orchestral instrumentation, heavy bass, and driving percussion.

Philadelphia International Records je americké hudební nakladatelství, specializující se na soulovou hudbu. Firma byla založena v roce 1971 Kennethem Gamblem a Leonem Huffem. Společnost v současnosti vlastní firma Atlantic Records, nahrávky distribuuje EMI. Kdysi, v roce 1984, nahrávky distribuovala firma CBS Records.


Concept models.

Two concept vehicles appeared in 2008: The Vision GLK Freeside and the Vision GLK Townside. The former was designed to handle light off-road duty, while the latter was intended for exclusively on-road driving.  The Freeside incorporated design aspects of the original Mercedes-Benz G-Class with typical design features from the contemporary Mercedes-Benz passenger car range. The concept included a 2.2-litre BlueTec four-cylinder Diesel engine rated at, 7G-Tronic seven-speed automatic transmission, 4Matic all-wheel drive, anticipatory Pre-Safe safety concept and the Intelligent Light System (ILS), Command APS infotainment centre, a rear-seat entertainment system with two screens and Thermotronic 3-zone automatic climate control, Agility Control suspension. The vehicle was unveiled in 2008 Detroit Auto Show.

Production model.

The vehicle's design was heavily influenced by the Mercedes-Benz C-Class.  The GLK-Class shares the C-Class W204 platform, and production plans continued after the demise of the similar Smart Formore. The vehicle was unveiled in Auto China 2008.  European models went on sale in June 30, 2008, with deliveries beginning in the autumn the same year. Early German models included GLK 220 CDI 4Matic BlueEfficiency, GLK 320 CDI 4Matic, GLK 280 4Matic, GLK 350 4Matic. GLK Edition 1 models are based on V6 engine models, but include exterior sports package, 20-inch wheels, Easy-Pack tailgate and specially coloured privacy glass in the rear compartment, interior sports package, black/white nappa leather seats from the designo range, AMG multifunction leather steering wheel, a black roof lining, exclusive aluminium trim elements and the Command APS system, calcite white body colour.  GLK 220 CDI BlueEfficiency, GLK 220 CDI 4Matic BlueEfficiency, GLK 300 4Matic, GLK 250 CDI 4Matic BlueEfficiency were introduced in 2009.  At launch in Germany and North America, the car was offered in all-wheel drive only, though a rear-wheel drive only version was added to the range.  The GLK-Class is not sold in RHD markets, such as the United Kingdom and Australia, due to a driveshaft used to operate the front wheels on 4WD versions of the GLK. It is positioned such that it encroaches slightly on the right-hand-side footwell. In August 2014, however, it was announced the GLK-Class will be sold in the United Kingdom from Q4 2015.

Vision GLK Bluetec Hybrid (2008).

A concept vehicle demonstrating a Bluetec engine with hybrid module was developed. It includes a 4-cylinder Bluetec Diesel engine, maximum electric motor, alubeam blue body colour, 20-inch light-alloy wheels, black leather upper dashboard upholstery, Command APS central display, Agility Control suspension.  The vehicle was unveiled at the 2008 Geneva Motor Show.

2008 SEMA concepts (2008).

Mercedes-Benz USA partnered with four tuners to develop custom designs based on the upcoming 2010 GLK-Class vehicles, as part of the US launch of GLK-Class SUV in 2009.  The Urban Whip is a white roadster built by Boulevard Customs, NBS Performance. Based on the GLK 350 4Matic, it included custom-made wide-body kit developed with RoBrady Design, body lowered by 64mm with custom lowering springs, 26-inch Asanti AF 150 chrome wheels with custom black accents and 295/25 ZR26 Pirelli Scorpion tires, front and rear Brembo performance brake kit with 381mm 2-piece floating rotors and 8-pot front callipers and 344mm 2-piece floating rotors with 4-piston rear callipers, 5.7 kW custom stereo system with eight HD amps and six new JL Audio 13TW5 flat subwoofers.  Brabus Widestar included a 320 Bluetec engine from other models available in the United States, Widestar bodyshell, customised front and rear bumpers, LED daytime running lights, side skirts, a roof spoiler with LED lights (position lights) and all-new LED lighting units above the front windshield, 21-inch wheels with 295/30 ZR 21 tires, lower ride height by 30 mm via Brabus chassis kit, high-performance brake system, enhanced engine power to and via ECOPowerXtra tuning kit, semi-aniline leather upholstery, diagonal stitching on the seating, door panels and the entire vehicle floor in cognac colour; black leather on upper surfaces of dashboard and door panels; black with piano black wood trim at roof lining Alcantara upholstery, sports steering wheel and aluminium sports pedals, multimedia system mounted in the front seat backs with a DVD player and 7-inch monitors.  RennTech Rally Racer is a hybrid vehicle based on GLK 350 4Matic, built by Renntech, inspired by the winged, unlimited-class rally cars of Pikes Peak Hill Climb. The engine power was increased to via special intake manifold, cams and cylinder heads, long-tube headers, composite air intake, Renntech ECU software. It also included hybrid system with 72 volt electric motor, 12 volt plug-in batteries. Other features include custom coil-over suspension from KW, Renntech brake combo with 412mm 2-piece rotors with 8-piston front callipers at the front and 356mm discs with 4-pot rear callipers, 20 inch 3-piece, 5-spoke Renntech Sniper Gray wheels with NT05 275/40 20 Nitto front and NT05 315/35 20 rear tires, aerodynamically-tuned body kit.  The Four Corners Rock Crawler is based on GLK 350 4Matic, built by Legendary Motorcar Company. The design was inspired by the idea of turning the GLK into an interactive snowboarding car. It included a gasoline-powered tow winch, stainless steel bar roof with swing-out side-mounted grinding rails, Perspex panel fitted to the roof, increased ride height by 38mm via custom-made spacers on the lower control arm at the rear and billet aluminium spacers at the front, 18-inch Jesse James Black-Widow rims with Toyo Open Country AT mudder tires, stock interior. The vehicles were unveiled in 2008 SEMA show, followed by 2008 Los Angeles Auto Show.  The ECO PowerXtra engine tuning kit found in Brabus Widestar concept also appeared in its GLK 320 CDI 4Matic upgrade kit. Brabus Widestar was later sold as conversion kit for X204 GLK built before June 2012. The construction of Rock Crawler concept was featured in season 9 of Dream Car Garage.

Safety.

The GLK has a comprehensive restraint system which consists of seatbelt tensioners and nine airbags, which are deployed selectively depending on the type of collision and its severity to reduce the forces exerted on the occupants.

Engines.

In 2009, the GLK 280 4Matic and GLK 320 CDI 4Matic were replaced by the GLK 300 4Matic and GLK 350 CDI 4Matic respectively.

Production.

In December 2011, the first locally produced Mercedes-Benz GLK was made in the Beijing production plant of Beijing Benz Automotive Co., Ltd. (BBAC).  At the end of July 2008, Mercedes-Benz had received a total of 10,000 orders for a GLK-Class vehicle, with 1000 orders for the Edition 1 vehicles.  As of Nov 03, 2008, 25,000 orders have been placed for the GLK-Class in Western Europe, with delivery beginning in 2008-10-18.

Marketing.

As part of the GLK product launch prior to the 2008 Detroit Auto Show debut, a prototype GLK appeared in the Sex and the City movie.  As part of the GLK product launch, the www.mercedes-glk.com web site was unveiled, which features an interactive music video that users can help to design, as well as a “GLK Backstage” section for discussions with the engineers who created the new model.  As part of US product launch with the SEMA concepts, visitors could cast vote for the favourite customized GLK vehicles, with winner of the “Tuner Challenge” announced on 2 December.

2012 update.

The vehicle was unveiled at the 2012 New York International Auto Show.  Early models include the GLK 200 CDI BlueEfficiency, GLK 220 CDI BlueEfficiency, GLK 220 CDI 4Matic BlueEfficiency, GLK 220 BlueTEC 4Matic, GLK 250 BlueTEC 4Matic, GLK 300 4Matic, GLK 350 CDI 4Matic BlueEfficiency and the GLK 350 4Matic BlueEfficiency.  Early US models include the GLK 350 and GLK 350 4MATIC BlueEfficiency as a 2013 year model with sales beginning in summer 2012, followed by the GLK 250 BlueTEC 4MATIC in early 2013.

Engines.

All gasoline engines include ECO start/stop function and direct fuel injection.  Canada models include GLK 350 4MATIC BlueEfficiency (as GLK 350 4MATIC).

Successor.

Mercedes-Benz GLC-Class

The Mercedes-Benz GLK (codename X204) is a compact luxury SUV produced from 2008 to 2015, debuting at the 2008 Beijing Auto Show.

Mercedes-Benz GLK je kompaktní SUV značky Mercedes-Benz (G značí souvislost s původním modelem G; L jako Limuzína; K jako Kompaktní) představené v roce 2008 v Pekingu. Vyrábí a prodává se od roku 2009 po celém světě, kromě Severní Ameriky, kde se začal prodávat až v roce 2010. Svou velikostí jde o jedno z nejmenších SUV na trhu a konkuruje vozům Audi Q5, BMW X3 nebo Toyota RAV4.


Type 637.

The original 1932 version of the Type 637 was built on a ladder frame. Its 1,961 cc engine produces.  In 1933 a trio of Type 637 cars won second, third and fourth place in the two-litre class of the Czechoslovak 1,000 miles race. In 1934 a Type 637 again won second place.  But economic conditions were poor in the early 1930s, and Škoda managed to sell very few Type 637 cars. Only 11 were built.

Types 637D and 637K.

Škoda developed a new backbone chassis based on the successful Tatra concept. This had more torsional stiffness than a ladder frame. The first Škoda to have a backbone chassis was the 420 Standard introduced in 1933. In 1934 Škoda applied a larger version of the same chassis to the Type 637.  At the same time Škoda increased the power of the Type 637 engine to, giving it a top speed of. The improved model was designated Type 637D. Body options offered included a two-door or four-door sedan and a six-seat, "six-light" limousine with sunroof. Sales improved slightly, with 39 cars being built.  Škoda revised the model again as the 637K. Sales remained low, with only 17 examples of this version being built. Production ceased in 1935.

Successors.

A Type 637 with its engine enlarged to 2,492 cc and its chassis lengthened became the prototype Škoda Type 640. The model was launched on 22 October 1934 as the Škoda Superb.  In 1936 Škoda tried to return to the Type 637's segment of the mid-range market with the four-cylinder Škoda Favorit. This model also suffered from poor sales, and production ceased in 1941.

The Škoda 637 is a Czechoslovak mid-size car that was made by Škoda from 1932 to 1935. The car has a 1,961 cc, six-cylinder, sidevalve engine, which is an enlarged version of the 1,792 cc engine introduced in the successful Škoda 633 in 1931. Transmission is via a single-plate clutch and four-speed gearbox with synchronised third and fourth gears.

Škoda 637 byl osobní automobil vyráběný v československé automobilce Škoda. Prodával se jako dvoudveřový tudor, čtyřdveřový sedan nebo limuzína. Výroba probíhala mezi lety 1932 a 1935, celkem se vyrobilo 67 kusů.


Description and history.

The type specimen is a partial skeleton (designated FPDM-V97122) discovered in the Kitadani quarry near Katsuyama in the Fukui prefecture. It is thought that this specimen, which would have measured about 4.2 metres long in life and weighed 175 kg, was not mature and an adult may have been larger. The remains of many other individuals have been found in the quarry, with numerous humeri, femurs, and teeth being assigned to this species. However, the other individuals recovered from the same locality are mostly juveniles that were smaller than the holotype (Currie & Azuma, 2006), in the smallest case less than a quarter of the holotype's size. A tooth (NDC-P0001) discovered in a block of conglomerate from the Sebayashi Formation has been referred to "Fukuiraptor" as well. In 2010 Gregory Paul gave a length of 5 meters (16 ft) and a weight of 300 kg (660 lbs). Molina-Pérez and Larramendi estimated a length of 4.3 meters (14.1 ft) and a weight of 590 kg (1.300 lbs) in 2016.  The distinctive teeth of "Fukuiraptor" show similarities with both carcharodontosaurids (being very compressed and blade-like, as well as having wrinkled enamel) and tyrannosaurids (having oblique blood grooves near the serrations). The holotype also had very large and flat manual unguals (hand claws), which played a role in its initial classification as a dromaeosaurid (as the hand claws were mistaken for foot claws) as well as its current classification as a megaraptoran.  An astragalus (NMV P150070) found in Australia, provisionally referred to "Australovenator", may belong to a megaraptoran more closely related to "Fukuiraptor" due to being very similar to it.

Classification.

Initially considered a member of the Dromaeosauridae when first discovered, its initial describers considered it a carnosaur, related to "Allosaurus". More recent studies consider it a megaraptoran, an enigmatic group which may have been part of the family Neovenatoridae. However, more recently, another analysis has proposed that all megaraptorans are actually tyrannosauroids, which would reclassify "Fukuiraptor" as a tyrannosauroid coelurosaur. Recent cladistic analysis of the theropod "Gualicho" has suggested that "Fukuiraptor" and other megaraptorans are either allosauroids, or non-tyrannosauroid basal coelurosaurs.

Fukuiraptor ("thief of Fukui") was a medium-sized megaraptoran theropod dinosaur of the Early Cretaceous epoch (either Barremian or Aptian) that lived in what is now Japan.

Fukuiraptor ("lovec z Fukui") byl rod středně velkého alosauroidního teropodního dinosaura, žijícího na území dnešního Japonska v období spodní křídy (stupeň Barrem).


History.

Early 1970s to early 1980s.

To understand the emergence of hardcore one has to go back to the 1970s and early 1980s, to find signs of hard electronic dance music within industrial music. Groups such as Throbbing Gristle, Coil, Cabaret Voltaire, SPK, Foetus and Einstürzende Neubauten produced music using a wide range of electronic instruments. The message diffused by industrial was then very provocative. Some of the musical sounds and experimentation of industrial have directly influenced hardcore since the beginning of the movement.

1980s.

In the mid-1980s, under the influence of the Belgian group Front 242, electronic body music (EBM), a new genre more accessible and more dancing inspired by industrial and new wave, appeared. This style is characterized by minimalism, cold sounds unlike disco, funk or house, with powerful beats, generally combined with aggressive vocals and an aesthetic close to industrial or punk music. When EBM has met new beat, another Belgian genre, and acid house, the music has changed to a harder sound. All the elements were here for the arrival of hardcore. The term hardcore is not new in the music world. It was first used to designate a more radical movement within punk rock (Black Flag, Minor Threat, Bad Brains...) which, in addition to hardening the music, also attached importance to their attitude and their way of life as in the street where it was born: violent, underground, but engaged and sincere. The term has then been reused when hip hop emerged in the late 1980s, designating the harder part of the hip hop, with the same characteristics: a harder sound, engaged lyrics and a whole way of life dedicated to the respect of the values shown by rappers like KRS-One or Public Enemy. The term "hardcore techno" has first been used by EBM groups like à;GRUMH..., Pankow, and Leæther Strip in the late 1980s, although their music had nothing to do with hardcore. à;GRUMH...'s "Sucking Energy (Hard Core Mix)", released in 1985, was the first track ever to use the term hardcore, within an EDM context.

1990s.

In 1990, German producer Marc Trauner (also known as Mescalinum United) claimed to have released the first hardcore techno track with "We Have Arrived". The British group Together released its track "Hardcore Uproar", also in 1990. Music journalist Simon Reynolds has written books on hardcore techno, covering bands like L.A. Style and Human Resource.  In the early 1990s, the terms "hardcore" and "darkcore" were also used to designate some primitive forms of breakbeat and drum and bass which were very popular in England and from which have emerged several famous producers like the Prodigy, Lords of Acid and also Goldie. It introduced sped up hip-hop breakbeats, piano breaks, dub and low frequency basslines and cartoon-like noises, which has been retrospectively called 'old skool' hardcore, and is widely regarded as the progenitor of happy hardcore (which later lost the breakbeats) and jungle (which alternatively lost the techno style keyboard stabs and piano breaks).  Around 1993, the style became clearly defined and was simply named "hardcore", as it left its influences from Detroit techno. The official birth of hardcore is supposedly known from the release of the 1990 track "We Have Arrived" by the German producer Mescalinum United, of Frankfurt. Trauner founded the label Planet Core Productions in 1989 and has produced more than 500 tracks, including 300 by himself until 1996. Another important name of the hardcore scene was PCP: Miroslav Pajic, better known as Miro. His group PCP popularized a slow, heavy, minimal and very dark form of hardcore that is now designated as "darkcore" or "doomcore". In the United States, the New York pioneer of techno Lenny Dee launched the label Industrial Strength Records in 1991 that has federated a large part of the American scene, making New York one of the biggest centers of early American hardcore. Other American producers on the label included Deadly Buda and the Horrorist, but the label has also produced producers from other nationalities. At the same time in Rotterdam, the DJs and producers Paul Elstak and Rob Fabrie popularized a speedier style, with saturated bass-lines, quickly known as "gabber" (now called "early hardcore"), and its more commercial and accessible form, happy hardcore.  Paul Elstak founded Rotterdam Records in 1992, which became the first hardcore label in the Netherlands. In 1992 at Utrecht, a large rave called The Final Exam led to the creation of the label ID&T. Launched in 1993, the concept of Thunderdome quickly popularized hardcore music in Europe with a catalogue of CD compilations and events, attracting thousands of young people that launched the gabber movement. Just during the single year of 1993, four compilations were released with increasing success. Many artists on the compilations have become well-known figures in the scene, notably 3 Steps Ahead, DJ Buzz Fuzz, The Dreamteam, Neophyte, Omar Santana, and Charly Lownoise and Mental Theo in the gabber/happy hardcore registry. The same year, the label Mokum Records was created by Freddy B who had success with artists and groups like Technohead Tellurian, the Speedfreak, Scott Brown, and the Belgian musician Liza N'Eliaz, pioneer of speedcore.  In England, the members of the sound system Spiral Tribe, including Stormcore, 69db, Crystal Distortion and Curley hardened their acid-breakbeat sound, becoming the pioneers of the "acidcore" and "hardtechno" genres. In 1994, they founded the label Network 23 which among others has produced Somatic Responses, Caustic Visions and Unit Moebius, establishing the musical and visual basis of the free party rave.  In France, the pioneers of hardcore include Laurent Hô.  In the late 1990s, hardcore progressively changed as early hardcore waned in popularity. This left a place for other hardcore-influenced styles like mákina and hardstyle.

2000s.

Under the influence of Hardstyle and industrial hardcore, a new scene was developing featuring DJ Promo and his label The Third Movement. This scene now known as mainstream hardcore emerged in the early 2000s with a modern, mature, slower, and sophisticated form. It was successful in Europe, especially in Netherlands and Italy, with producers and groups like Endymion, Kasparov, Art of Fighters, The Stunned Guys and DJ Mad Dog. Happy hardcore continues its movement underground and has evolved bringing out other related genres such as eurobeat, UK hardcore, Freeform hardcore and Full-on Hardcore.  Labels such as Enzyme Records, Crossbones and Bloc 46 have produced darkcore artists, like Ruffneck, Fifth Era and The Outside Agency.  As the free party movement was successful in all the Europe, freetekno appeared. Numerous producers and labels emerged representing the hardtechno and the frenchcore genres: Epileptik, Audiogenic, Les Enfants Sages, Tekita, Breakteam, Mackitek, B2K and Narkotek.

2010s.

The early 2010s saw the rise of hardcore internationally, with artists such as Angerfist gaining popularity quickly. The hardcore scene thrived during this period with many new producers and labels making their mark on the scene, both in Europe and the rest of the world, appearing even at North America's biggest music festival, Electric Daisy Carnival. In 2011, Angerfist entered the DJ Mag Top 100 at position #39.  The middle of the decade saw a shift in popularity, from mainstream hardcore to faster styles such as frenchcore, uptempo hardcore and terrorcore. Although these styles existed previously already, an increase in artists and events around 2015 helped these styles develop and move to the forefront of the audience's attention. The shift from the older range of 160-180 beats per minute to 200+ changed the hardcore market, creating a demand for more energetic and intense hardcore than before. Artists like Sefa & Dr. Peacock saw a quick rise within the scene and influenced the musical direction to a louder, faster, but more melodic and euphoric style. Major artists from other genres such as Marshmello, Carnage, Porter Robinson and Headhunterz started to occasionally play faster hardcore in their sets.  The end of the decade saw rapid growth of the hardcore scene in Europe. Hardcore festivals within the Netherlands saw a significant rise in attendance. 2019's edition of Thunderdome reached an attendance of almost 40,000 people and became the biggest hardcore event to ever take place. Regular large scale events hardcore started happening outside of the Netherlands in countries like Spain, Russia, Austria, Switzerland and the Czech Republic among other European countries. In America hardcore remains a relatively underground genre, but can be found in major cities being pushed by independent promoters and artists.

Production techniques.

Hardcore is usually composed using music sequencers, and many earlier tracks were produced on home computers with module tracker software. Some examples of the software used are FL Studio, Ableton Live, Cubase, Logic, Nuendo and Reason. The wide availability of computers, combined with the absence of financial remuneration, meant that many hardcore musicians write for their own enjoyment and the pleasure of innovation.

Subgenres.

Hardcore spawned several subgenres and derivative styles, including:

Hardcore is a subgenre of electronic dance music that originated in the Netherlands and Germany in the 1990s. It is distinguished by faster tempos (160 to 200 BPM or more), the intensity of the kicks and the synthesized bass (in some subgenres), the rhythm and the atmosphere of the themes (sometimes violent), the usage of saturation and experimentation close to that of industrial dance music. It would spawn subgenres such as gabber.

Hardcore je druh elektronické hudby, který začal vznikat v 90. letech v Nizozemsku; pod tento termín spadá několik specifických stylů. Je popisován jako nejrychlejší, nejtvrdší a nejagresivnější elektronická hudba.


Early life.

Matulka was born on 7 November 1890 in Vlachovo Březí, Bohemia, then part of Austria-Hungary and now part of the Czech Republic. In 1907 Jan, his parents Maria and John, and his five younger sisters moved to the Bronx. Soon after John separated from Jan's mother and left the family alone and with little money.  In 1908 Jan Matulka began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who would on 1 May 1918 become his wife. Lída Matulka worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community.  Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship, painting as he went. While in the Southwest he became one of the first modern artists to portray the Hopi snake rain dance.

Work.

In 1919 Matulka illustrated "Czechoslovak Fairy Tales" with writer Parker Fillmore and published by Hippocrene Books. In 1920 the pair compiled a second book, "The Shoemaker's Apron", published by Harcourt Brace & Company  The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as to Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter there while Lida returned to New York City each October. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes. In the 1920s Matulka maintained both his studios, frequently traveling to and fro from Paris to New York City. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as Abstract pieces.  Katherine Sophie Dreier became his patron briefly from 1925 to 1926, which came to a premature end mainly due to petty disagreements and Matulka's general lack of social grace, ranging from tardiness to tantrums. In November 1926 he started to contribute illustrations to "The New Masses".  In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conservative and representational works so Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.  Personal and global financial woes soon prevented Matulka from traveling annually to Paris. In 1928 he sublet his studio there to jazz painter Stuart Davis. Later Josef Šíma sublet it, taking it over completely from Matulka in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately these things did not survive World War II.  From 1934 until it ended in 1935 Matulka became one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art. Immediately afterward he joined the Federal Art Project and also worked on the Williamsburg Houses, eventually completing two murals, both of which were eventually destroyed or painted over.

Isolation and death.

In 1936 Matulka helped found the American Abstract Artists, but refused to join the group. His emotional state continued to decline, even more so when his sister Barbara killed herself on 5 July. By the time his association with the Federal Art Project ended in 1939 he had become even more socially and emotionally isolated. He continued painting more and more experimental works.  Over the next few decades Matulka received much acclaim from his exhibitions, but remained relatively withdrawn from society. As age caught up with him, he suffered from many health issues, including deafness. Matulka died 25 June 1972 in New York City.

Jan Matulka (7 November 1890 – 25 June 1972) was a Czech-American modern artist originally from Bohemia. Matulka's style ranged from Abstract expressionism to landscapes, sometimes in the same day. He has directly influenced artists like Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith.

Jan Matulka (7. listopadu 1890, Vlachovo Březí – 25. června 1972, New York) byl americký malíř českého původu a umělec světového jména. V roce 1907 se s rodiči vystěhoval do USA.


Description.

"Artocarpus odoratissimus" is an evergreen tree growing to tall. The leaves are 16–50 cm long and 11–28 cm broad, similar to the Breadfruit's, but are a little less lobed. Many trees lose the leaf lobing once mature.

Fruit.

As indicated by the scientific name, the fruit has a strong scent, and is considered superior in flavour to both jackfruit and cempedak. The scent reminds some of the durian but is not so intense, and is in the thick skin and not the fruit pulp. The taste has hints of a mild creamy, almost juicy banana, and is best when not allowed to ripen thoroughly on the tree. Those ripened on the tree turn a more brownish color and will eventually fall to the ground and easily split open. The appearance of the fruit can be regarded as an intermediate shape between the jackfruit and the breadfruit. It is round to oblong, 15–20 cm long and 13 cm broad, and weighing about 1 kg. The thick rind is covered with soft, broad spines. They become hard and brittle as the fruit matures. When fully mature the expanding arils stretch the outer rind which often appears lumpy, especially if not all seeds were pollinated. The fruit does not fall to the ground until over-ripe. It may be harvested when full size but still firm, and left to ripen until soft. Fruits change colour to greenish yellow when ripe. The ripe fruit is opened by cutting the rind around, twisting and gently pulling. If overripe they are simply pulled apart. The interior of the fruit is somewhat similar to the jackfruit's, but the color is white and the flesh is usually softer. The core is relatively large, but there are far fewer "rags" and less non-edible parts. Arils are white and the size of a grape, each containing a 15 × 8 mm seed. Once opened, the fruit should be consumed quickly (in a few hours), as it loses flavour rapidly and fruit oxidizes. The seeds are also edible after boiling or roasting.

Cultivation.

"Artocarpus odoratissimus" is cultivated for its fruit in Brunei, Indonesia, Malaysia, the Philippines, southern Thailand and India Tripura. The species is largely grown for local consumption; the short shelf-life of the fruit limits its wider use.  The tree is not cold tolerant (as is the breadfruit). It can grow between latitude 15° north and south, and in coastal regions where temperatures never stay under 7 °C.

Similar fruits.

The fruits of "Artocarpus sericicarpus" (known as the "peluntan", "gumihan", "pedalai", or "tarap bulu") and "Artocarpus sarawakensis" ("pingan" or "mountain tarap") are very similar to, and often confused with "A. odoratissimus". Both these species are native to the same areas. However, they are still distinguishable based on their appearances when ripe. "Artocarpus sericicarpus" has hairs, like a large rambutan, and ripens red. "Artocarpus sarawakensis" is even trickier, because it is the shape of "A. odoratissimus", and it is orange. It has smaller kernel sections.

Uses of tarap wastes.

There are many uses of the leftover tarap peels, stem axis and seeds. The tarap peels were reported as useful material for the removal of colouring agents (such as crystal violet, methyl violet 2B and methylene blue ) from dye wastewater. The tarap stem axis were reported to be used in the removal of Cd (II) and Cu(II).

Artocarpus odoratissimus, also called terap, marang, johey oak, green pedalai, madang, tarap, or timadang, is a tree in the mulberry and fig family Moraceae. It is native to Borneo, Palawan, and Mindanao Island, and is closely related to the jackfruit, cempedak, and breadfruit trees which all belong to the same genus, "Artocarpus".

Chlebovník vonný ("Artocarpus odoratissimus") nebo Marang, Madang, Atau, Tarap, Terap je vždyzelený, až 25 metrů vysoký strom patřící do rodu chlebovník a čeledi morušovníkovité ("Moraceae"). Roste na Borneu a Filipínách.


Early life and education.

Konchalovsky was born as Andrei Sergeyevich Mikhalkov in Moscow, Russian Soviet Federative Socialist Republic, to an aristocratic family of Mikhalkovs, with centuries-old artistic and aristocratic heritage tracing their roots to the Grand Duchy of Lithuania. He took his maternal grandfather's surname (Konchalovsky) as his stage name. He is the brother of filmmaker Nikita Mikhalkov and the son of author Sergei Mikhalkov. He is frequently referred to as "Andron", but as he stated several times, Andron was just the pet-name used by his grandfather and never was his official name; he prefers the name Andrei.  He studied for ten years at the Moscow Conservatory, preparing for a pianist's career. In 1960, however, he met Andrei Tarkovsky and co-scripted his movie "Andrei Rublev" (1966).

Career.

His first full-length feature, "The First Teacher" (1964), was favourably received in the Soviet Union and screened by numerous film festivals abroad. His second film, "Asya Klyachina's Story" (1967), was suppressed by Soviet authorities. When issued twenty years later, it was acclaimed as his masterpiece. Thereupon, Konchalovsky filmed adaptations of Ivan Turgenev's "A Nest of Gentle Folk" (1969) and Chekhov's "Uncle Vanya" (1970), with Innokenty Smoktunovsky in the title role.  In 1979 he was a member of the jury at the 11th Moscow International Film Festival. His epic "Siberiade" upon its 1979 release was favourably received at Cannes and made possible his move to the United States in 1980.  His most popular Hollywood releases are "Maria's Lovers" (1984), "Runaway Train" (1985), based on a script by Japanese director Akira Kurosawa, and "Tango & Cash" (1989), starring Sylvester Stallone and Kurt Russell. In the 1990s, Konchalovsky returned to Russia, although he occasionally produced historical films for U.S. television, such as his adaption of "The Odyssey" (1997) and the award-winning remake, "The Lion in Winter" (2003).  Konchalovsky's full-length feature, "House of Fools" (2003), with a cameo role by Bryan Adams as himself, set in a Chechen psychiatric asylum during the war, won him a Silver Lion at the Venice Film Festival.  In 2010, Konchalovsky released a longtime passion project of his, "The Nutcracker in 3D", a musical adaptation of Peter Ilyich Tchaikovsky's ballet. A musical film, it mixed live action and 3D animation, and starred Elle Fanning, John Turturro, Nathan Lane, and Richard E. Grant. The film was scored with music from the ballet, with additional lyrics by Tim Rice.  In the same year, Konchalovsky also featured in "Hitler in Hollywood", a bio-doc about Micheline Presle which evolves into a thrilling investigation of the long hidden truth behind European cinema. This mockumentary thriller uncovers Hollywood's unsuspected plot against the European motion picture industry. The film won the FIPRESCI Prize at the Karlovy Vary International Film Festival and was nominated for a Crystal Globe award in July, 2010.  In 2012, Konchalovsky wrote, directed and produced "The Battle for Ukraine", which provided an in depth analysis of how Ukraine to this day struggles to escape from the close embrace of its former big brother, Russia. This extensive study lasted for almost three years and involved an array of Ukrainian, Russian and American historians, politicians and journalists, as well as the ex-President of Poland Aleksander Kwasniewski, the ex-President of Slovakia Rudolf Schuster, the ex-President of Georgia Eduard Shevardnadze, the seventh Secretary-General of the United Nations Kofi Annan, the ex-Prime Minister of Russia Viktor Chernomyrdin, and the businessman Boris Berezovsky.  2013, saw Konchalovsky co-produce a story previously untold on film. Film-maker Margy Kinmonth invited the Prince of Wales to make a journey through history to celebrate the artistic gene in his family and reveal an extraordinary treasure trove of work by royal hands past and present, many of whom were accomplished artists. Set against the spectacular landscapes of the Royal Estates and containing insights into works by members of The Royal Family down the centuries and The Prince of Wales's own watercolours, 'Royal Paintbox' explores a colourful palette of intimate family memory and observation.  His film "The Postman's White Nights" won the Silver Lion at the 71st Venice International Film Festival. The script is centred around the true story of Aleksey Tryaptisyn, a real life postman based in a remote Russian village surrounding the Kenozero lake.  In 2016 "Paradise" directed by him won the Silver Lion at the 73rd Venice International Film Festival. It was selected as the Russian entry for the Best Foreign Language Film at the 89th Academy Awards.

Personal life.

Konchalovsky has been married five times. His first wife was Irina Kandat. His second wife was Kazakh actress Natalia Arinbasarova, with whom he has one son: Egor, born January 15, 1966. His third wife was Viviane Godet, with whom he has a daughter, Alexandra Mikhalkova, born October 6, 1971. His fourth wife was Irina Ivanova, with whom he has two daughters: Nathalia and Elena. His fifth wife is Russian actress Julia Vysotskaya; they have been married since 1998 and have two children: Maria (1999) and Petr (2003).

Accolades.

2018 Career Award at the Sardinia Film Festival (XIII ed. - Sassari)  2018 Cavalier of the Order of Merit of the Italian Republic (Italy)  2018 Russian Ludvic Nobel award (Russia)  2017 Award of the Government of the Russian Federation in Culture for his theater work (Russia)  2017 The Bridge Award by the Bernhard Wicki Foundation (Germany)  2017 The title of Professor of Moscow State University (Russia)  2017 ‘Person of the Year’ award by Federation Of Jewish Communities in Russia (Russia)  2017 The Federico Fellini Prize ‘For a special contribution to the development of the cinema’ (Italy)  2017 The European Medal of Tolerance (ECTR), ‘For his cultural achievements focused on preserving the tragic memory of the past including his film ‘Paradise’ (Brussels)  2016 ‘Baltic Star International Award’ for Developing and Consolidating Humanitarian Relations in Countries of the Baltic Region (Russia)  2016 Rivista del Cinematografo Award, Vatican (Italy)  2016 The Robert Bresson Prize, Vatican (Italy)  2015 The Moscow Times Awards 'Person of the Year’ (Russia)  2012 Award 'For Contribution to Enlightenment’, Kazan International Festival of Muslim Films (Russia)  2012 International Award of Chingiz Aitmatov, 'For Studio adaptation of a novel' for the movie 'The First Teacher', 1965,  2011 National Order of the Legion of Honour (Ordre national de la Légion d’honneur) (France)  2011 The title of Honorary Doctor of the University (National University of Theatre Arts and Cinema (UNATC)  2011 Honorary award 'Doctor Honorius Causa' for the contribution to cinema (Romania)  2011 Award 'For the contribution to cinema’, International Film Festival of Andrei Tarkovsky ‘Zerkalo' (Russia)  2010 Honorary Award to outstanding citizen of the city of Tuscany (Italy)  2010 Commemorative Medal '150th anniversary of Anton Chekhov', award 'For the contribution to the theatrical art’ (Russia)  2008 'Gold Star' special award for the contribution to development of the world cinema (Marrakech International Film Festival, Morocco)  2006 Russian Film Directors Guild Award for citizenship, integrity and contribution to cinema (Russia)  2005 Officer of the Order of Arts and Letters (France)  2003 Order 'Danaker' (Republic of Kyrgyzstan)  2002 The title of 'Honorary Professor of Cinematography' for outstanding contribution to the art, culture and cinema, VGIK (Russia)  2002 Academician of the National Academy of Motion Picture Arts and Sciences (Russia)  1997 Special Silver St. George for his contribution to world cinema, 20th Moscow International Film Festival (Russia), 1997  1997 Order "For Merit to the Fatherland" (Russia)  1997 Medal 'In Commemoration of the 850th Anniversary of Moscow’ (Russia)  1980 People's Artist of the RSFSR (USSR)  1974 Merited Artist of the USSR (USSR)  1972 State Prize of the Kazakh SSR (USSR)

Andrei Sergeyevich Mikhalkov-Konchalovsky (; born Andrei Sergeyevich Mikhalkov; August 20, 1937) is a Russian filmmaker, theatre director, and screenwriter. He is a laureate of the Order "For Merit to the Fatherland", a National Order of the Legion of Honour, an Officer of the Order of Arts and Letters, a Cavalier of the Order of Merit of the Italian Republic and a People's Artist of the RSFSR. His father was the writer Sergey Mikhalkov.

Andrej Končalovskij, rodným jménem Andrej Sergejevič Michalkov-Končalovskij (* 20. srpna 1938, Moskva, Sovětský svaz) je ruský scenárista a režisér. Jedná se o jednoho z nejproslulejších a nejuznávanějších ruských filmových režisérů všech dob.


Life.

Nothing is known of Villard apart from what can be gleaned from his surviving "sketchbook." Based on the large number of architectural designs in the portfolio, it was traditionally thought that Villard was a successful, professional, itinerant architect and engineer. This view is largely rejected today, as there is no evidence of him ever working as an architect or in any other identifiable profession, and the drawings contain many inaccuracies and misunderstandings that would be surprising from a practicing architect. He was possibly trained as a metalworker. Nonetheless, it is clear from his drawings that he was interested in architecture and that he traveled to some of the major ecclesiastical building sites of his day to record details of these buildings. His drawing of one of the west facade towers of Laon Cathedral and those of radiating chapels and a main vessel bay, interior and exterior, of Rheims Cathedral are of particular interest.  Villard tells us, with pride, that he had been in many lands ("Jai este en m[u]lt de tieres") and that he made a trip to Hungary where he remained many days ("maint ior"), but he does not say why he went there or who sent him. It has recently been proposed that he may have been a lay agent or representative of the cathedral chapter of Cambrai Cathedral to obtain a relic of St. Elizabeth of Hungary who had made a donation to the cathedral chapter and to whom the chapter dedicated one of the radiating chapels in their new chevet. He also claimed to have made many of his drawings "from life" ("al vif"), an activity more usually associated with much later artists of the Renaissance.

Sketchbook.

The so-called "sketchbook" of Villard de Honnecourt (more correctly, an album or portfolio) dates to about c.1225-1235. It was discovered in the mid-19th century and is presently housed in the Bibliothèque nationale de France (BnF), Paris, under the shelfmark MS Fr 19093. It consists of 33 parchment sheets measuring on average 235x155 mm, or 9.25 x 6.1 inches. The manuscript is not complete, and its original extent cannot be determined. Because the drawings and captions are oriented in many different directions, the album appears to have been assembled in an ad hoc fashion, as if the individual sheets were not originally intended to be bound together into book form. It is unclear whether it was Villard himself or a later party who assembled and bound the leaves into a book.  The album contains about 250 drawings. These include architectural designs (plans, elevations, and details, often of identifiable buildings), a great variety of human and animal subjects, ensembles of religious and secular figures perhaps derived from or intended as sculptural groups, ecclesiastical objects, mechanical devices (including a perpetual-motion machine), engineering constructions such as lifting devices and a water-driven saw, a number of automata, designs for war engines such as a trebuchet, and many other subjects. Many drawings are accompanied by annotations and labels.  The original purpose of the album is the subject of controversy. Originally it was thought to have served as a kind of training manual for practicing architects. This is rejected by most current researchers, because Villard's drawings seem fundamentally ill-suited to such a purpose, though it has been argued that the drawings were deliberately simplistic and abstracted to serve as coded mnemonic devices for architects who were initiated into the relevant oral tradition. Nevertheless, most scholars today believe it more likely served as a pattern or model book, containing designs for manuscript illumination or metalwork.

Facsimiles.

Several printed facsimiles of the album have appeared.  A full digital facsimile is available online via the BNF's online library, Gallica:

Villard de Honnecourt ("Wilars dehonecort", "Vilars de Honecourt") was a 13th-century artist from Picardy in northern France. He is known to history only through a surviving portfolio or "sketchbook" containing about 250 drawings and designs of a wide variety of subjects.

Villard de Honnecourt byl autor skicáře ze 13. století plného náčrtků, jeho profese není známa. Bývá považován za architekta či putujícího stavitele pravděpodobně z Pikardie.


Lego Technic Components.

The Lego Technic system expands on the normal Lego bricks with a whole range of new bricks that offer new function and building styles. The most significant change from normal Lego is that single-stud wide bricks ('beams') have circular holes through their vertical face. These holes can accommodate pins, which enable two beams to be held securely together side-by-side, or hinged at an angle. The holes also act as bearings for axles, on which gears and wheels can be attached to create complex mechanisms. Studless beams ("studs" are the bumps traditionally associated with Lego parts), referred to as 'liftarms', were first introduced in 1989 and through the 1990s and 2000s, an increasing number of liftarm designs have been introduced over time.

Gears.

Gears have been included within Lego Technic sets since 1977 as a way of transferring rotary power, and of gearing-up or down the speed. Gears come in several sizes: 8 tooth, 16 tooth, 24 tooth and 40 tooth spur gears; 12 tooth, 20 tooth, 28 tooth and 36 tooth double bevel gears; and 12 tooth and 20 tooth single bevel gears. The double bevel gears are cut so they can also be meshed as spur gears. There is also a 16 tooth spur clutch gear, a 20 tooth double bevel clutch gear and a 24 tooth friction gear that slips when a certain amount of torque is put on it to prevent motors from damaging any parts or burning themselves out.  In addition to standard gears, some kits include a rack, a clutch and even worm gears and differential gears. The original differential had a 28 tooth bevel gear, designed to be meshed with the 14 tooth bevel gears (replaced by the 12 tooth gears) to give 2:1 reduction. They can also be meshed with the newer double bevel gears. It was replaced by a newer design incorporating 16 tooth and 24 tooth gears on opposite sides of the casing. The casing holds three 12 tooth bevel gears inside.  As of 2008, an updated version of the original differential has been released, optimised for studless construction.  Chain links were also introduced as an additional way of connecting gears. Tension (resulting from the correct number of chain-link parts used), along with the combination of gearwheel-sizes used, is critical to reliable operation. 8-tooth gears are not recommended for this purpose.

Motors.

The Lego Technic system has always included a variety of different electric motors. Broadly, these divide into those powered by batteries (held in a connected battery box) or by mains electricity (via a transformer.) Battery-powered is the most common.  The very earliest motors (p/n x469b) were 4.5 volt, and consisted of a modified "Electric Train Motor" (p/n x469) and along with the 4 driven bushes for wheels added an axle hole enabling axles of different lengths to be used. While these were released in kits with Technic parts they were not sold as Technic motors.  The first dedicated Technic motor was a 4.5 volt rounded brick (p/n 6216m) released in 1977 as part of the Expert Builder Power Pack (960-1) and Supplementary Set (870-1), this output via a small protruding axle that would rotate when the motor was powered. The motor was not geared, resulting in high-RPM, low-torque output. Gearboxes and a square casing were available. A 12 volt motor of the same physical dimensions as the 4.5 volt motor was also available in set 880-1. The 12 volt version is visually distinguishable by being black, rather than grey.  The 4.5 volt motor was replaced by a similar but square 9 volt motor in 1990.  Recent motors contain an axle hole enabling axles of different lengths to be used.

Technic Figures.

Technic Figures are figures that appeared in Technic sets, appearing sporadically but heavily featured in the CyberSlam/Competition line. They were first introduced in 1986 in the Arctic Action line, and were produced until 2001. They are much larger and have several more joints than the standard minifigure, including bendable elbow and knee-joints. Each figure comes already assembled and is not meant to come apart, but parts can be popped off by pulling too hard. They can connect to both standard Lego System bricks and on Technic parts, and Technic pegs can fit in their hands. 27 different kinds of Technic figures were created, some sets included the same figures but with different accessories and stickers.

Technic Action Figures.

In 1999 Lego Technic Introduced Lego Slizers (known as Throwbots in the US) which were colorful action figures built with Lego Technic parts and branded under Lego Technic. The Slizer sets were released between 1999 and 2000 consisting of 10 main figures Torch, Ski, Turbo, Scuba, Jet, Amazon, Granite, and Electro, Flare, Spark, and 2 Titan figures Millennium and Blaster. Slizers was later replaced by Lego RoboRiders in 2000. RoboRiders were similar in concept to Slizers with Technic Built figures with 6 main figures Swamp, Lava, Frost, Onyx, Dust, Power 4 mini builds and The Boss (Known as Super RoboRider internationally). RoboRiders was later replaced by Bionicle the next year which later spun off into its own line and isn't considered part of Lego Technic.

"Studded" (Beams) versus "Studless" (Liftarms).

Although liftarms (studless beams) have been present in Technic sets since 1989, the change from primarily studded to primarily studless construction around the year 2000 represented a major paradigm shift and has been quite controversial. Initially liftarms were used primarily as styling parts, or to create smaller sub-assemblies which attached to a studded chassis. With an increasing number of liftarm designs introduced, a tipping point was reached around the year 2000 with models introduced primarily constructed from liftarms instead of traditional beams.  However, studless construction also introduces disadvantages. Studless construction is not immediately intuitive, requiring the builder to think five or six steps ahead. While studded construction follows the classic bottom-to-top building pattern, studless construction requires building inside-to-outside. Studless constructions are noted to often be more flexible than an equivalent studded construction. This is due to the amount of flex in the clip-based pins which are used to attach studdless parts together, whereas studs provide a more rigid friction fit.  As of 2005, Lego has begun to re-incorporate studded bricks back into the Technic line, which can be seen in sets such as 8421 (found on Peeron), Mobile Crane. However, studded bricks are used primarily as to mount front grills in vehicles while transparent plates are used for lights.

Power Functions.

In late 2007, a new motor system was released called "Power Functions"; it was included within Lego set 8275 Motorized Bulldozer. It comprised a set of motors, two IR receivers, remote control and a battery box, thus resulting in a remote-control model.  With these sets it is possible to build or convert manually-operated mechanical movement to motorized using electric motors which are controlled via switches or IR remote control. Future plans for this set include more parts which will add even more function/control possibilities.. Lego has already started to design and sell Lego Technic models (sets) which can be easily retrofitted with the Power Functions system or third-party alternatives like SBrick or Buwizz. For example, models like the 8294 Excavator and 8295 Telescopic Handler are sold like classic Lego Technic models with manual motorization but are designed with free space for the Power Functions components with factory instructions on how to perform the conversion to an electrically operated model.  The Power Functions line-up also includes a Linear Actuator currently not sold separately, but already used in many models like the 8294 Excavator and the 8043 Motorised Excavator.

Sets.

This has a list of Lego Technic Sets

Lego Technic is a line of Lego interconnecting plastic rods and parts. The purpose of this series is to create more advanced models with more complex technical functions, compared to the simpler brick-building properties of normal Lego.

Lego Technic je řada stavebnic Lego, které obsahují plastové tyče a části. Účelem této série je možnost vytvoření pokročilejších modelů se složitějšími pohyblivými částmi, jako jsou různé stroje s koly, na rozdíl od jednodušších modelů „klasického“ Lega. Tento koncept byl uveden jako Expert Builder v roce 1977 a v roce 1984 byl přejmenován na Technic.


Biography.

Early life and career.

Byrd attended Cass Technical High School. He performed with Lionel Hampton before finishing high school. After playing in a military band during a term in the United States Air Force, Byrd obtained a bachelor's degree in music from Wayne State University and a master's degree from Manhattan School of Music. While still at the Manhattan School, he joined Art Blakey's Jazz Messengers, as the successor to Clifford Brown. In 1955, he recorded with Gigi Gryce, Jackie McLean and Mal Waldron. After leaving the Jazz Messengers in 1956, he performed with many leading jazz musicians of the day, including John Coltrane, Sonny Rollins, Thelonious Monk, and later Herbie Hancock.  Byrd's first regular group was a quintet that he co-led from 1958 to 1961 with baritone saxophonist Pepper Adams, an ensemble whose hard-driving performances are captured "live" on "At the Half Note Cafe".  Byrd's 1961 LP "Royal Flush" marked the Blue Note debut of Hancock, who came to further attention with Byrd's successful 1962 album "Free Form", and these albums also featured the first recordings of Hancock's original compositions. Hancock has credited Byrd as a key influence in his early career, recounting that he took the young pianist "under his wings" when he was a struggling musician newly arrived in New York, even letting him sleep on a hide-a-bed in his Bronx apartment for several years  He was the first person to let me be a permanent member of an internationally known band. He has always nurtured and encouraged young musicians. He's a born educator, it seems to be in his blood, and he really tried to encourage the development of creativity.  Hancock also recalled that Byrd helped him in many other ways: he encouraged Hancock to make his debut album for Blue Note, connected him with Mongo Santamaria, who turned Hancock's tune "Watermelon Man" into a chart-topping hit, and that Byrd also later urged him to accept Miles Davis' offer to join his quintet.  Hancock also credits Byrd with giving him one of the most important pieces of advice of his career – not to give away his publishing rights. When Blue Note offered Hancock the chance to record his first solo LP, label executives tried to convince him to relinquish his publishing in exchange for being able to record the album, but he stuck to Byrd's advice and refused, so the meeting came to an impasse. At this point, he stood up to leave and when it became clear that he was about to walk out, the executives relented and allowed him to retain his publishing. Thanks to Santamaria's subsequent hit cover version of "Watermelon Man", Hancock was soon receiving substantial royalties, and he used his first royalty check of $3,000 to buy his first car, a 1963 Shelby Cobra (also recommended by Byrd) which Hancock still owns, and which is now the oldest production Cobra still in its original owner's hands.  In June 1964, Byrd played with Eric Dolphy in Paris just two weeks before Dolphy died from insulin shock.

Electric Byrd.

By 1969's "Fancy Free", Byrd was moving away from the hard bop jazz idiom and began to record jazz fusion and rhythm and blues. He teamed up with the Mizell Brothers (producer-writers Larry and Fonce) for "Black Byrd" (1973) which was, for many years, Blue Note's best-selling album. The title track climbed to No. 19 on "Billboard"′s R&B chart and reached the Hot 100 pop chart, peaking at No. 88. The Mizell brothers' follow-up albums for Byrd, "Street Lady", "Places and Spaces" and "Stepping into Tomorrow", were also big sellers, and have subsequently provided a rich source of samples for acid jazz artists such as Us3. Most of the material for the albums was written by Larry Mizell.  In 1973, he helped to establish and co-produce the Blackbyrds, a fusion group consisting of then-student musicians from Howard University, where Byrd taught in the music department and earned his J.D. in 1976. They scored several major hits including "Happy Music" (No. 3 R&B, No. 19 pop), "Walking in Rhythm" (No. 4 R&B, No. 6 pop) and "Rock Creek Park".  During his tenure at North Carolina Central University during the 1980s, he formed a group which included students from the college called the "125th St NYC Band". They recorded the "Love Byrd" album, which featured Isaac Hayes on drums. "Love Has Come Around" became a disco hit in the UK and reached No. 41 on the charts.  Beginning in the 1960s, Byrd (who eventually gained his PhD in music education from Teachers College, Columbia University in 1982) taught at a variety of postsecondary institutions, including Rutgers University, the Hampton Institute, New York University, Howard University, Queens College, Oberlin College, Cornell University, North Carolina Central University and Delaware State University. Byrd returned to somewhat straight-ahead jazz later in his career, releasing three albums for Orrin Keepnews' Landmark Records.  Byrd was a resident of Teaneck, New Jersey. He died on February 4, 2013 in Dover, Delaware, at age 80.

Discography.

As leader.

These are the year of recording (and release year where different).

As sideman.

With Ahmad Jamal  With Al Grey  With Art Blakey  With Art Farmer  With Art Taylor  'With Bunky Green  With Cal Tjader  With Cannonball Adderley  With Chris Connor  With Dexter Gordon  With Dizzy Reece  With Doug Watkins  With Duke Pearson  With Elmo Hope  With Ernie Wilkins  With Eric Dolphy  With Gene Ammons  With Gene Harris  With George Wallington  With Gigi Gryce  With Guru  With Hank Jones  With Hank Mobley  With Herbie Hancock  With Horace Silver  With Jackie McLean  With Jimmy Smith  With Jimmy Heath  With Jim Timmens  With John Coltrane  With Johnny Griffin  With Kenny Burrell  With Kenny Clarke  With Kenny Drew  With Lou Donaldson  With Manny Albam/Teo Macero With Michel Legrand  With Mundell Lowe  With Oscar Pettiford  With Pepper Adams  With Paul Chambers  With Phil Woods  With Red Garland  With Rita Reys and The Jazz Messengers  With Sam Rivers  With Solomon Ilori  With Sonny Clark  With Sonny Rollins  With Stanley Turrentine  With Thelonious Monk  With Walter Davis Jr.  With Wes Montgomery

Donaldson Toussaint L'Ouverture Byrd II (December 9, 1932 – February 4, 2013) was an American jazz and rhythm & blues trumpeter and vocalist. A sideman for many other jazz musicians of his generation, Byrd was known as one of the rare bebop jazz musicians who successfully explored funk and soul while remaining a jazz artist. As a bandleader, Byrd was an influence on the early career of Herbie Hancock.

Donald Byrd, vlastním jménem Donaldson Toussaint L'Ouverture Byrd II. (9. prosince 1932, Detroit, Michigan – 4. února 2013) byl americký jazzový a R&B trumpetista.


History.

Soul jazz is often associated with hard bop. Mark C. Gridley, writing for the "All Music Guide to Jazz", explains that soul jazz more specifically refers to music with "an earthy, bluesy melodic concept" and "repetitive, dance-like rhythms... Note that some listeners make no distinction between'soul-jazz" and 'funky hard bop,' and many musicians don't consider'soul-jazz' to be continuous with 'hard bop.'" Roy Carr describes soul jazz as an outgrowth of hard bop, with the terms "funk" and "soul" appearing in a jazz context as early as the mid-1950s to describe "gospel-informed, down-home, call-and-response blues." Carr also notes the acknowledged influence of Ray Charles' small group recordings (which included saxophonists David "Fathead" Newman and Hank Crawford) with Horace Silver, Art Blakey, Cannonball Adderley and Milt Jackson.  Soul jazz developed in the late 1950s, reaching public awareness with the release of "The Cannonball Adderley Quintet in San Francisco". Cannonball Adderley noted: "We were pressured quite heavily by Riverside Records when they discovered there was a word called'soul'. We became, from an image point of view, soul jazz artists. They kept promoting us that way and I kept deliberately fighting it, to the extent that it became a game." While soul jazz was most popular during the mid-to-late 1960s, many soul jazz performers, and elements of the music, remain popular. The Jazz Crusaders, for example, evolved from soul jazz to soul music, becoming The Crusaders in the process. Carr places David Sanborn and Maceo Parker in a line of alto saxophonists that includes Earl Bostic and Tab Smith, with Adderley, followed by Lou Donaldson, as the strongest links in the chain.  Some well-known soul jazz recordings are Curtis Fuller's "Five Spot after Dark" (1957), Lee Morgan's "The Sidewinder" (1963), Frank Foster's "Samba Blues" (1963), Herbie Hancock's "Cantaloupe Island" (1964) (which was popularized further when sampled by US3 on "Cantaloop (Flip Fantasia)" almost 30 years later, in 1993), Horace Silver's "Song for My Father" (1964), Ramsey Lewis's "The 'In' Crowd" (a top-five hit in 1965), and Cannonball Adderley's "Mercy, Mercy, Mercy" (1966) (also popularized further when covered as a top 40 pop song by The Buckinghams the following year). Les McCann and Eddie Harris's album "Swiss Movement" (1969) was a hit record, as was the accompanying single "Compared to What", with both selling millions of units.

Performers.

Important soul jazz organists include Bill Doggett, Baby Face Willette, Jimmy Smith, Charles Earland, Richard "Groove" Holmes, "Brother" Jack McDuff, Jimmy McGriff, Dr. Lonnie Smith, Big John Patton, Freddie Roach, Larry Young, Don Patterson, Shirley Scott, Hank Marr, Reuben Wilson, and Johnny Hammond Smith.  Saxophone and guitar are also important in soul jazz; soul jazz tenors include Stanley Turrentine, Hank Crawford, Gene Ammons, Eddie Harris, Houston Person, and Ramon Morris; guitarists include Grant Green, Melvin Sparks, O'Donel Levy, Phil Upchurch, David T. Walker, and George Benson. Other important players include pianists Horace Silver, and Les McCann, cornet player Nat Adderley, trumpeter Lee Morgan, trombone player Curtis Fuller, bassist Wilbur Bascomb, and drummers Idris Muhammad (Leo Morris), Les DeMerle, and Paul Humphrey.

Soul jazz is a development of jazz incorporating strong influences from blues, soul, gospel and rhythm and blues in music for small groups, often an organ trio featuring a Hammond organ.

Soul-jazz ("soul jazz") se vyvinul z hard bopu a byl silně ovlivněn bluesem, gospelem a rhythm and bluesem. Typickým nástrojem používaným v soul-jazzu jsou Hammondovy varhany. Hudba je typická a většinou určena pro malé skupinky, tria skládající se z hráče na bicí, el. kytary a saxofonu. Těmto triím se někdy říká "organ trio" (varhanová tria). Mezi soul-jazz se řadí umělci jako Bill Doggett, Charles Earland, Richard "Groove" Holmes, Les McCann, "Brother" Jack McDuff, Jimmy McGriff, Dr. Lonnie Smith, Big John Patton, Don Patterson, Shirley Scott, Hank Marr, Reuben Wilson, Jimmy Smith, Johnny Hammond Smith. Dalším typickým elementem "soul-jazz"ové hudby je použití tenor saxofonu a kytary. Mezi soul-jazzové saxofonové tenory patří Gene Ammons, Eddie Harris. Kytaristé, George Benson, Kenny Burrel.