text: Tokugawa shogunate

text: Tokugawa Iesada

text: Meiji period

text: Sakuradamon incident

text: Mito

text: Satsuma

text: daimyō

text: Buddhist

text: daimyō

text: bakufu

text: Matthew C. Perry

text: Nagasaki

text: Abe Masahiro

text: Hotta Masayoshi

text: Ii Naonori

text: Matsudaira Yoritoshi

text: Tokugawa Iesada

text: Tairō

text: shinpan

text: Townsend Harris

text: gosankyō

text: Hitotsubashi Keiki

text: Tokugawa Nariaki

text: Emperor Kōmei

text: Kyoto

text: Tokugawa Iesada

text: Tokugawa Yoshitomi

text: Ansei Purge

text: kōbu gattai

text: Princess Kazunomiya

text: Sakuradamon incident

text: Buddhist

text: Christianity

text: heresiological

text: Tsunada Tadayuki

text: Yamagata Aritomo

text: Pony Express

text: Gōtoku-ji

text: Setagaya, Tokyo

text: Oxford University Press

text: photograph of Sakurada-mon (1902)

categories: Japanese tea masters,1815 births,People of Bakumatsu,Fudai daimyo,Assassinated Japanese politicians,People murdered in Japan,Ii clan,Tairō

paragraph: Ii Naosuke

paragraph: Under Ii Naosuke’s guidance, the Tokugawa shogunate navigated past a particularly difficult conflict over the succession to the ailing and childless Tokugawa Iesada. Ii Naosuke managed to coerce the Tokugawa shogunate to the last brief resurgence of its power and position in Japanese society before the start of the Meiji period. Ii was assassinated in the Sakuradamon incident by a group of 17 Mito and 1 Satsuma samurai on March 24, 1860.

paragraph: Section::::Early life.

paragraph: Ii Naosuke was born on November 29, 1815, as the 14th son of Ii Naonaka, the "daimyō" of Hikone by his concubine. Since Naosuke was the 14th son, he was not in line for a prominent position and early in his life was sent to a Buddhist temple where he lived on a small stipend from his family. Fortunately for Ii, even though he was sent to the monastery, his 13 elder brothers were either adopted into other families who needed an heir, or died before they succeeded their father. Accordingly, when his father died in 1850, Ii was called back from the monastery and became the "daimyō" of Hikone, a "fudai" domain, and took the family name of Ii. As the "daimyō" of Hikone, Ii was one of the "daimyōs" who were eligible for a position in the bakufu, the council of the "shōgun"s advisors. His childhood name was Tetsunosuke (鉄之介).

paragraph: Ii became involved in national politics, rapidly rising to lead a coalition of "daimyōs". In 1853 Ii put forward a proposal concerning the Japanese negotiations with U.S. Commodore Matthew C. Perry during Perry's mission to open Japan to the outside world. Realizing that Japan was faced with immediate military danger Ii argued that Japan should use their relationship with the Dutch to allow them to buy enough time to develop armed forces, which could resist invasion. Ii recommended that only the port of Nagasaki be opened for trade with foreigners Ii, like Hotta Masayoshi, refused to remain silent while shogunal advisor Abe Masahiro appeased the anti-foreign party. Ii led the "fudai daimyōs" in their effort to bring about the downfall of Abe Masahiro and replace him with Hotta Masayoshi. This alienated many reformist "daimyōs", leading them to strengthen their association with the Imperial court.

paragraph: Section::::Family.

paragraph: BULLET::::- Father: Ii Naonaka (1766-1831)

paragraph: BULLET::::- Mother: Otomi no Kata (1785-1819)

paragraph: BULLET::::- Foster father: Ii Naoaki (1794-1850)

paragraph: BULLET::::- Wife: Masako (1834-1885)

paragraph: BULLET::::- Concubines:

paragraph: BULLET::::- Senda Shizue

paragraph: BULLET::::- Nishimura Sato

paragraph: BULLET::::- Children:

paragraph: BULLET::::- Ii Naonori by Nishimura Sato

paragraph: BULLET::::- daughter

paragraph: BULLET::::- Son

paragraph: BULLET::::- Chiyoko (1846-1927) married Matsudaira Yoritoshi

paragraph: BULLET::::- Ii Naotomo (1849-1887) by Masako

paragraph: BULLET::::- Ii Naoyasu (1851-1935) by Nishimura Sato

paragraph: BULLET::::- daughter

paragraph: BULLET::::- son

paragraph: BULLET::::- Manchiyo

paragraph: BULLET::::- daughter

paragraph: BULLET::::- son

paragraph: BULLET::::- Michiyo

paragraph: BULLET::::- daughter

paragraph: BULLET::::- Ii Naoyuki (1858-1927) by Masako

paragraph: BULLET::::- Tokiko married Aoyama Yukiyoshi

paragraph: Section::::"Tairō".

paragraph: In 1858 after Hotta Masayoshi's disastrous attempt to obtain the emperor's approval for the Harris treaty the Tokugawa "shōgun" Tokugawa Iesada chose Ii Naosuke to be the "Tairō" (Great Elder); a decision influenced by the Kii Party. The position of Tairō, a post traditionally held by members of the Ii family, was rarely filled; in fact there had only been three Tairō between 1700 and Ii Naosuke's rise to power 158 years later. Ii's promotion to the post of Tairō annoyed many of the "shinpan daimyōs" ("daimyōs" related to the "shōgun", they were unable to be members of the bakufu, but in the event of the "shōgun" dying heirless the next "shōgun" would be chosen from one of the "shinpan" families) including Tokugawa Nariaki. As the Tairō Ii Naosuke had both prestige and power second only to the "shōgun"; Ii also enjoyed the full backing of the "fudai daimyōs". An intelligent and capable politician Ii Naosuke was determined to restore the power of the bakufu in Japanese policy making, both in a domestic and a foreign role.

paragraph: Ii Naosuke regarded the Harris treaty, which Hotta Masayoshi had negotiated with the American envoy Townsend Harris as in Japan's best interests. In accordance with the protocol he asked the three house lords of the "gosankyō" for their views in writing. However Ii faced a problem in the form of an obstructionist policy from members of the Hitotsubashi faction led by Hitotsubashi Keiki's father Tokugawa Nariaki.

paragraph: Ii was unwilling to sign the Harris treaty without approval from Emperor Kōmei in Kyoto. However the "daimyōs" of the Hitotsubashi faction were preventing him from presenting the treaty to the emperor by withholding their approval. At this time Harris started putting pressure on the shogunal officials to sign the treaty. Ii decided not to risk aggravating the Americans and on 29 July 1858, encouraged by the full backing of the bakufu officials, Ii ordered the Harris treaty to be signed. Soon after this Ii negotiated a number of similar unequal treaties with the Dutch, the Russians, the British and the French. Bakufu critics considered the treaties signed by Ii Naosuke to have seriously compromised Japan’s sovereignty, and recovery of this power became the basis of a large part of the policies formed during the Meiji period.

paragraph: Due to the frail health of the "shōgun" Tokugawa Iesada, the members of the Hitotsubashi faction wanted to force Ii to support Hitotsubashi Keiki as the heir to the ailing "shōgun". Hitotsubashi Keiki was the reformist candidate, supported by the reformist faction, headed by his father Tokugawa Nariaki; his supporters pointed to his experience and skill in handling policy decisions. Ii was aware that Japan needed strong leadership, but unlike the reformist "daimyōs", Ii was not prepared to accept strong leadership from outside the traditional forms of government. The bakufu, led by Ii, wanted the 12-year-old "daimyō" of Kii, Tokugawa Yoshitomi, to ascend to the position of "shōgun". The bakufu supported such a young candidate because they felt that it would be easier for them to influence and control a young and inexperienced "shōgun".

paragraph: To end meddling in bakufu affairs, shortly after he signed the Harris treaty Ii settled the matter of the shogunal succession by claiming that the shogunal succession was a matter for the Tokugawa house alone and neither the "shinpan daimyōs" or the Emperor had the right to interfere. As head councilor of the Tokugawa house Ii was now free to influence the decision in favor of whichever candidate he preferred without any interference. In this way Ii was able to ignore the "daimyōs" who supported Hitotsubashi Keiki, the reformist candidate for the office of "shōgun" and crowned the "fudai daimyō"s candidate, Tokugawa Yoshitomi who changed his name to Tokugawa Iemochi, as the 14th Tokugawa "shōgun".

paragraph: Ii's decision made him very unpopular with Imperial loyalists, especially with the Mito samurai. Towards the end of 1858 the reformists went to the emperor with the hopes of restraining Ii. In response to the attempt by Tokugawa Nariaki and his supporters to denounce him in the emperor's court Ii had a shogunal decree passed which allowed him to conduct the Ansei Purge. During the rest of 1858 and into 1859 Naosuke purged over 100 officials from the bakufu, the imperial court and the lands of various "daimyōs". Eight of the officials who were purged were executed; the remainder were forced into retirement. During the Ansei purge Ii Naosuke was able to force Hitotsubashi Keiki's supporters to retire and place Hitotsubashi and his family under house arrest. Ii Naosuke was also able to remove officials who had expressed unhappiness with his handling of the Harris treaty and the shogunal succession from public life.

paragraph: Section::::Kōbu gattai and the Kazunomiya marriage.

paragraph: In early 1859 Ii Naosuke's agent in the Imperial Court, Nagano Shuzen, approached him with the idea of "kōbu gattai". "Kōbu gattai" was a policy binding Kyoto and Edo closer together to shore up the failing shogunate with the prestige of the imperial court. This policy was to be carried out by means of a marriage between the "shōgun" and the Emperor's younger sister, Princess Kazunomiya. Naosuke broached the topic to the Imperial court through his Envoy Manabe Akibuke. Manabe was tasked with gauging the measure of acceptability for the proposed marriage between Shogun Iemochi and Princess Kazunomiya. Prominent court official Konoe Tadahiro responded favorably to the proposal, insinuating a marriage between the shogun and Princess Kazunomiya was possible if her present engagement failed. However, in March 1859 Konoe was forced to retire from the court by Naosuke's Ansei purge, and the idea of "kōbu gattai" faded into the background until 1861, after the death of Ii Naosuke. In 1861 due to the further deteriorating status of the shogunate the marriage between Tokugawa Iemochi and Princess Kazunomiya finally took place, though their marriage was cut short by Iemochi's death in 1866.

paragraph: Section::::Death and consequences.

paragraph: Although Ii's Ansei purge was very effective in silencing the officials and his high ranking opponents, it did not have the same effect on lower-ranking samurai. Ii Naosuke's 20-month dictatorial reign as "tairō" came to an abrupt end in the third month of "Ansei" 7 (March 24, 1860).

paragraph: In the Sakuradamon incident, Ii was attacked by a band of 17 young samurai loyalists from the Mito Province and cut down just in front of one of the gates of the "shōgun"s Edo castle entering to meet with the "shōgun". The assassination of Ii Naosuke, who was seen as the symbol of the bakufu's power and authority, was construed as crushing any hopes for the resurrection of the shogunate's power. His assassins additionally left a note accusing him of building heretical Buddhist temples in Japan; this in fact referred to his allowing Christianity to return to the region, building on earlier Japanese heresiological discourse.

paragraph: The death of Tairō Ii Naosuke started a wave of loyalist terrorism across Japan, the poet Tsunada Tadayuki even wrote a poem praising Ii's assassins. Soon attempts were being made on the lives of other members of the bakufu and their informants. The wave of popular dissent also turned against officials with a connection to Ii Naosuke, no matter how distant it was. Shimada Sakon, retainer of the Kujō, (one of the Sekke families; the 5 regent houses, and among the most powerful in the court), Imperial regent, was killed by dissidents for supporting the Harris treaty and helping Ii’s confidant, Nagano Shuzen, expose members of the court who were targeted during the Ansei purge.

paragraph: The "shōgun" and the Bakufu were astounded and taken completely unaware by the death of Ii Naosuke. They didn't even announce his death until several months after the assassination took place. Instead, during this time the "shōgun" and the bakufu first pretended that Ii was still alive and rendering service to the "shōgun". Then they faked an illness and had him render his resignation to the "shōgun" before announcing his death. In this way Ii continued to serve the "shōgun", even after death. Ii's assassins were later granted a general amnesty by the bakufu, a precedent later used by Yamagata Aritomo, a key member of the Meiji restoration and a main architect of the military and political foundations of early modern Japan and Japanese militarism, to show that any action can be forgiven if it is performed for the betterment of the emperor.

paragraph: Accounts of the dramatic event were sent via ship across the Pacific to San Francisco and then sped by Pony Express across the American West. On June 12, "The New York Times" reported that Japan's first diplomatic mission to the West received the news about what had happened in Edo.

paragraph: Section::::Legacy.

paragraph: After his death Ii Naosuke was quickly both vilified and defended. Even his enemies would admit that along with Tokugawa Nariaki, Ii was one of the most important political figures of the late Edo period of Japanese history. Due to the often-tyrannical means Ii used to maintain his power he was the subject of extremely negative press and was portrayed as a villain in much of the literature from his time, for example in the poems of Tsunada Tadayuki. Historians such as Miyauchi and Beasley consider that Ii was nonetheless a patriot who carried out all of his acts in the belief that they were for the good of Japan and the Emperor. They base this theory upon Ii's 1853 proposal concerning the Japanese negotiations with Commodore Perry, where Ii realized that Japan could not stand up to the Western powers and so suggested a policy of placation while the Japanese built up their armed forces (which was the policy chosen by the Meiji government). Ii's successors could not overturn his policy decisions, and his attitude towards the foreigners became the cornerstone of Japanese policy well into the Meiji period.

paragraph: After Ii Naosuke's death the Ii family was disgraced for many years; recently, however, Ii's actions have been looked at in a more favorable light and Ii Naosuke has taken his place as one of the most important political figures of Japanese history. On October 7, 2009, Ii Naotake, a family descendent of Naosuke, attended a memorial ceremony with the people of Fukui in reconciliation over the execution of Hashimoto Sanai in the Ansei Purge.

paragraph: Ii is buried in the temple of Gōtoku-ji, in Setagaya, Tokyo.

paragraph: Section::::References.

paragraph: BULLET::::- Benneville, James Seguin de. (1910). "Saitō Mussashi-bō Benkei". (Tales of the Wars of the Gempei). Yokohama.

paragraph: BULLET::::- Kusunoki Sei'ichirō 楠木誠一郎 (1991). "Nihon shi omoshiro suiri: Nazo no satsujin jiken wo oe" 日本史おもしろ推理: 謎の殺人事件を追え. Tokyo: Futami bunko 二見文庫.

paragraph: BULLET::::- Matsuoka Hideo 松岡英夫 (2001). "Ansei no Taigoku: Ii Naosuke to Nagano Shuzen" 安政の大獄: 井伊直弼と長野主膳. Tokyo: Chūōkōron-shinsha 中央公論新社.

paragraph: BULLET::::- Mori Yoshikazu 母利美和 (2006). "Ii Naosuke" 井伊直弼. Tokyo: Yoshikawa Kōbunkan 吉川弘文館.

paragraph: BULLET::::- Nakamura Katsumaro, Akimoto Shunkichi (1909). "Lord Ii Naosuké and New Japan". Yokohama: Japan Times.

paragraph: BULLET::::- Osaragi Jirō 大佛次郎 (1967–1974). "Tennō no seiki" 天皇の世紀. Tokyo: Asahi Shinbunsha 朝日新聞社.

paragraph: BULLET::::- Shimada Saburō 島田三郎 (1888). "Kaikoku shimatsu: Ii Kamon no Kami Naosuke den" 開國始末: 井伊掃部頭直弼傳. Tokyo: Yoronsha 輿論社.

paragraph: BULLET::::- Tanimura Reiko 谷村玲子 (2001). "Ii Naosuke, shūyō toshite no chanoyu" 井伊直弼, 修養としての茶の湯. Tokyo: Sōbunsha 創文社.

paragraph: BULLET::::- Tsuzuki, Chushichi. (2000). "The Pursuit of Power in Modern Japan, 1825–1995." Oxford: Oxford University Press.

paragraph: Section::::External links.

paragraph: BULLET::::- National Diet Library: photograph of Sakurada-mon (1902)

description: daimyo

wikidata_label: Ii Naosuke

wikipedia_title: Ii Naosuke


text:
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categories: Being Inc. artists,Japanese male rock singers,Japanese record producers,1961 births,People from Toyonaka, Osaka,Japanese session musicians,B'z,Grammy Award winners,Japanese male pop singers,Lead guitarists,Musicians from Osaka Prefecture,Japanese male singer-songwriters,Living people,Japanese rock guitarists

paragraph: Tak Matsumoto

paragraph: Section::::Career.

paragraph: Matsumoto was inspired to pick a guitar at an age of 13 when for the first time listened to Eric Clapton's playing on The Beatles song "While My Guitar Gently Weeps". Reportedly he bought his first electric guitar at age of 15, a Japanese Gibson Les Paul after hearing Deep Purple's guitarist Ritchie Blackmore play "Smoke on the Water on live album "Made in Japan". Matsumoto has said over the years that he has many favorite artists, from whom he has drawn much inspiration, from hard rock particularly such as Deep Purple, Led Zeppelin, Aerosmith and Van Halen. He has also cited a love of classical music, which was the catalyst for the incorporation of strings into many B'z compositions. He has also worked with Tokyo Ska Paradise Orchestra for many years, and their work often appears on many of the earlier B'z albums.

paragraph: Matsumoto's attended jazz school, but when he started working as a session musician, and supporting tours like TM Network, his musicianship was cemented. His exposure to a myriad of styles helped him to meld his own unique blend, incorporating elements of his jazz training, blues (his incorporation of the style known as "Kansai Blues" is well known), classical, heavy metal, rock, and ska. Matsumoto's continued his session work throughout the early and mid-1980s with acts such as Mari Hamada until deciding to jump on the emerging solo instrumental trend catching on in Japan at that time. He recorded solo album "Thousand Wave" and worked with future globe headliner Tetsuya Komuro as a touring guitarist for Komuro's band TM Network. "99", a simple instrumental incorporating some blistering fretwork, is considered one of his finest works.

paragraph: After his solo album, Matsumoto decided to try his hand at starting his own band. With his session work behind him, and a burgeoning production career, he started to search for a singer. After being presented with a tape from an unknown session singer known as Koshi Inaba, Matsumoto was blown away. Their first recorded session was a rendition of "Let It Be" and "Oh! Darling" by The Beatles, and even though the amp blew out, Matsumoto knew he had his new singer. Matsumoto and Koshi formed the duo B'z and debuted in September 1988. B'z has continued to be one of the most successful bands in the history of Japanese music, helped by the pairing of two very different musical directions. Matsumoto always drew his tastes from blues, classical, and jazz, while Koshi preferred rock music. Tak has ongoing friendships with musicians such as Barry Sparks, Marty Friedman, Billy Sheehan, Eddie Van Halen, Eric Martin, Jack Blades, Joe Perry, Pat Torpey, Steven Tyler, and Steve Vai, with whom Tak and Koshi recorded the song "Asian Sky" from the 1999 album, "The Ultra Zone". Billy Sheehan recorded tracks for 1999's "Brotherhood" album, as well as touring (along with Shane Gaalaas) as support musicians for 2002's Green Live-Gym Tour. In 2002, Matsumoto contributed music to two songs ("Don't Stop Music!" and "Koiuta") in Misia's fourth album, "Kiss in the Sky". She invited him to be a part of the album after discovering his solo work.

paragraph: In 2004, Matsumoto formed the "Tak Matsumoto Group" with Eric Martin on vocal, Jack Blades on bass, and Brian Tichy on drums, forging ahead with his own brand of musical genius. Tak played guitar, produced the album and wrote songs while Eric and Jack wrote lyrics. On March, the single "Oh Japan ~Our Time Is Now~", was released. The album "TMG I" that made Tak go back and forth to US for the recording, was released on June 23. Tak has had this project idea for a long time; the album mixes rock and oriental sounds. The album topped the chart in the first week. Matsumoto energetically kept working. On July 18, 19 and 20, he had a collaboration concert with Tokyo Symphony Orchestra at Suntory Hall. At this special concert named Tokyo Special Collaboration 2004 Matsumoto Takahiro -HANA-, Tak played B'z hit "Love Phantom" and the solo number "HANA" with only his guitar and Orchestra. Soon after, TMG started its tour rehearsal. From July 30, the "Dodge The Bullet" tour started at Zepp Fukuoka. Chris Frazier who played songs on the B'z album "Big Machine" joined as the drummer for this tour. TMG had 16 shows in 8 locations including the last show at Nihon Budokan. In November, Matsumoto established his own label "House of Strings" which emphasizes guitarists and string musicians. He recorded again at a studio the songs played with the orchestra in July, and released it as the first House of Strings CD with the same title on the album. It is an instrumental album including Christmas numbers such as "Itsukano Merry Christmas" and "Holy Night".

paragraph: In 2005, he scored the soundtrack for the film "", while the next year wrote the music of "Real Face" for KAT-TUN. According to Oricon, "Real Face" became the Japanese best-selling single in 2006. In 2010, after the tour "Ain't No Magic" with B'z, Matsumoto worked with guitarist Larry Carlton. Together they released an album titled "Take Your Pick" in June 2010, available in Japan and around the world. The album was considered for nomination for nine categories of the 2011 Grammy Awards, and ended up winning the award for Best Pop Instrumental Album. It also won the "Jazz Album of the Year" award at 25th Japan Gold Disc Awards. Together they embarked on a nationwide tour to support the album, with Matsumoto saying that "felt a little nervous playing "Room 335" with Mr. Larry Carlton every night". In 2016, Matsumoto released a three-track EP called "Enigma", followed in 2017 by a collaboration album between himself and Hawaiian artist Daniel Ho, "Electric Island, Acoustic Sea".

paragraph: Section::::Legacy.

paragraph: Matsumoto through his B'z fame is credited for "resurrection and reinvention of the Japanese guitar hero", alongside and in comparison to X Japan's guitarist Hideto Matsumoto for a model of guitarist more interested in technique, technology and equipment, popularising the electric guitar as a mass media product in Japan. Terry Burrows considered him as the "most highly regarded guitarist to emerge from Asia". Matsumoto ranked first in a 2011 poll conducted by Japanese search engine goo on who the Japanese people thought was the best guitarist to represent Japan. In 2019, Matsumoto's song was named the 51st best guitar instrumental by "Young Guitar Magazine" in 2019.

paragraph: Section::::Musical equipment.

paragraph: Matsumoto was given his own Signature Model Les Paul from Gibson in 1999. Matsumoto was added to the Gibson signature artist club as the first guitarist from Asia. He currently holds the record with 7 different signature models produced, including "Model Double Cutaway". His Les Paul model was also adapted into an Epiphone. In recent years was released signature model "Doublecut Custom Ebony".

paragraph: Section::::Musical equipment.:Early career.

paragraph: BULLET::::1. 'Tak' Matsumoto Yamaha MGM Signature Model (1988–1989)

paragraph: BULLET::::2. 'Tak' Matsumoto Yamaha MGM-II Signature Model (1990–1992)

paragraph: BULLET::::3. 'Tak' Matsumoto Yamaha MGM-III Signature Model (1993–1995)

paragraph: BULLET::::4. Gibson Les Paul Standard Gold Top (1991–1998)

paragraph: BULLET::::5. Music Man EVH Signature Model (1995–1998)

paragraph: BULLET::::6. (Mesa Boogie) Mark III head amp (1985–1991)

paragraph: BULLET::::7. VHT 100 watt rack-mounted heads (1985–1991)

paragraph: BULLET::::8. (Mesa Boogie) 2 channel Dual Rectifier 100 watt (1992–1995)

paragraph: BULLET::::9. (Mesa Boogie) 4 X 12 celestion speaker (Rebadged to a Ferrari emblem)

paragraph: BULLET::::10. Rockman XPR (1988–1997)

paragraph: BULLET::::11. Marshall JCM 800 100 watt heads (1994)

paragraph: BULLET::::12. Marshall 4x12's with Celestion speakers (Rebadged "Matsumoto") (1992–1997)

paragraph: BULLET::::13. Peavey 5150 guitar amp (1996–2000)

paragraph: BULLET::::14. Peavey 5150II 100 watt amplifier (2000–2002)

paragraph: BULLET::::15. EMB Audio Remote wah system

paragraph: Section::::Musical equipment.:2002-present.

paragraph: BULLET::::1. Gibson 'Tak' Matsumoto Signature Model (4 types)

paragraph: BULLET::::2. Bogner Ecstasy Classic 100 watt Amplifiers

paragraph: BULLET::::3. Bogner Uberschall 100 Watt Amplifiers

paragraph: BULLET::::4. Bogner "Rei" 4x12 cabinets (with specially voiced custom speakers)

paragraph: BULLET::::5. Budda Budwah

paragraph: BULLET::::6. Digitech Whammy Pedal

paragraph: BULLET::::7. Taurus Distortion Pedal

paragraph: BULLET::::8. Dunlop 1.00 Guitar Picks

paragraph: BULLET::::9. Sadowsky Tokyo Stratocaster Type (2006, from the Monster's Garage)

paragraph: Matsumoto has also amassed a substantial guitar collection, including the following:

paragraph: BULLET::::1. 1870 Martin C-7 Acoustic Guitar

paragraph: BULLET::::2. 1937 Martin 000-18 Acoustic Guitar

paragraph: BULLET::::3. 1952 Fender Telecaster (Butterscotch Blonde)

paragraph: BULLET::::4. 1954 Fender Stratocaster (Tobacco Sunburst)

paragraph: BULLET::::5. 1956 Gibson Les Paul Goldtop (with 'Soapbar' pickups)

paragraph: BULLET::::6. 1959 Gibson Les Paul Flametop (with PAF pickups)

paragraph: BULLET::::7. 1962 Fender Stratocaster (Fiesta Red)

paragraph: BULLET::::8. 1962 Gibson SG

paragraph: Matsumoto is also an avid collector of older guitar amplifiers, as well as an accomplished bass player. Aside from guitars, he also owns other instruments, such as a few sitars, electric and otherwise.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Solo works.

paragraph: Section::::Discography.:Solo works.:Albums.

paragraph: BULLET::::1. "Thousand Wave" (May 21, 1988), Oricon ranking: No. 58

paragraph: BULLET::::2. "Wanna Go Home" (April 22, 1992) No. 3

paragraph: BULLET::::3. "Rock'n Roll Standard Club" (May 15, 1996) No. 2

paragraph: BULLET::::4. "Thousand Wave Plus" (October 7, 1996) No. 25

paragraph: BULLET::::5. "Knockin' "T" Around" (April 14, 1999) No. 5

paragraph: BULLET::::6. "Dragon From The West" (February 27, 2002) No. 5

paragraph: BULLET::::7. 華 ("Hana") (February 27, 2002) No. 4

paragraph: BULLET::::8. "The Hit Parade" (November 26, 2003) No. 2

paragraph: BULLET::::9. "House of Strings" (November 24, 2004) No. 7

paragraph: BULLET::::10. "Theatre of Strings" (October 19, 2005) No. 9

paragraph: BULLET::::11. "Take Your Pick" (June 2, 2010) No. 2

paragraph: BULLET::::12. "Strings of My Soul" (June 20, 2012) No. 4

paragraph: BULLET::::13. "New Horizon" (April 20, 2014) No. 3

paragraph: BULLET::::14. "enigma" (April 6, 2016) No. 4

paragraph: BULLET::::15. "Electric Island, Acoustic Sea" (February 8, 2017) No. 7

paragraph: Section::::Discography.:Solo works.:Singles.

paragraph: BULLET::::1. '88 ~ Love Story/Love Ya (September 25, 1991) Oricon ranking: No. 8

paragraph: BULLET::::2. #1090 Thousand Dreams (March 18, 1992) – Music Station opening theme - No. 3

paragraph: BULLET::::3. The Changing (March 25, 1999) No. 3

paragraph: BULLET::::4. 異邦人 ("Ihoujin") (August 27, 2003), features Zard and Matsuda Akiko of Ramjet Pulley, No. 2

paragraph: BULLET::::5. イミテイション・ゴールド [Imitation Gold] (October 8, 2003), features Mai Kuraki and Nakamura Yuri of GARNET CROW, No. 1

paragraph: Section::::Discography.:TMG (Tak Matsumoto Group).:Albums.

paragraph: BULLET::::1. "TMG I" (June 23, 2004) No. 1

paragraph: Section::::Discography.:TMG (Tak Matsumoto Group).:Singles.

paragraph: BULLET::::1. "Oh Japan ~Our Time Is Now~" (March 31, 2004) No. 3

paragraph: Section::::Discography.:TMG (Tak Matsumoto Group).:Video.

paragraph: BULLET::::1. "Dodge The Bullet" (December 15, 2004) No. 8

paragraph: Section::::External links.

paragraph: BULLET::::- B'z official website (in Japanese & English) – also includes Tak's substantial guitar collection

paragraph: BULLET::::- House of Strings – His instrumental collaborative solo project

description: Japanese rock guitarist

wikidata_label: Takahiro Matsumoto

wikipedia_title: Tak Matsumoto


text: Berlin

text: Roland Juno-60

text: Rhodes piano

text: Moog Taurus

text: Ólafur Arnalds

text: F. S. Blumm

text: Woodkid

text: ECM Records

text: Hamburg

text: Tchaikovsky

text: Erased Tapes

text: Luke Abbott

text: Chris Clark

text: Una Corda

text: David Klavins

text: Modell 370

text: Assassin's Creed Unity

text: gamescom

text: Victoria

text: Sebastian Schipper

text: ELLIS

text: JR

text: Pitchfork

text: Barbican Centre

text: Roland Juno 60

text: Fender Rhodes

text: Oberheim Four Voice

text: Mellotron M400

text: Roland RE-501 Chorus Echo

text: Studer A80 Tape Recorder

text: Nagra IV-S

text: Binson Echorec 2

text: Electro-Harmonix

text: Moog MF-102 Moogerfooger Ring Modulator

text: The Bells

text: Felt

text: Spaces

text: All Melody

text: Machinefabriek

text: F.S. Blumm

text: Peter Broderick

text: Machinefabriek

text: Romke Kleefstra

text: Ólafur Arnalds

text: F.S. Blumm

text: Bergschrund

text: Mass Appeal

text: DJ Shadow

text: Hotel Pro Forma

text: Frahm on Erased Tapes's website

text: Frahm's music book Sheets Eins

text: 2013 interview with "Interview

categories: German classical composers,German male classical composers,20th-century German musicians,Neoclassical composers,Musicians from Berlin,Living people,1982 births

paragraph: Nils Frahm

paragraph: Nils Frahm (born 20 September 1982) is a German musician, composer, and record producer based in Berlin. He is known for combining classical and electronic music and for an unconventional approach to the piano in which he mixes a grand piano, upright piano, Roland Juno-60, Rhodes piano, drum machines, and Moog Taurus.

paragraph: As well as his solo work, Frahm has released collaborations with such notable performers as Anne Müller, Ólafur Arnalds, F. S. Blumm and Woodkid. With Frederic Gmeiner and Sebastian Singwald he records and performs as Nonkeen.

paragraph: Section::::Biography.

paragraph: Frahm had an early introduction to music. His father, Klaus Frahm, was a photographer who also designed covers for ECM Records. He grew up near Hamburg, where he learned the styles of the classical pianists as well as contemporary composers. At school he used mixing boards and was very interested in the quality of recorded sound. He studied classical piano for 8 years under Nahum Brodsky, the protégé of the protégé of Tchaikovsky, who lived in a neighbouring village. In 2006, rather than pursue an orchestra career, Frahm moved to Berlin as a jobbing technician.

paragraph: Frahm's earlier solo piano works "Wintermusik" (2009) and "The Bells" (2009) gained him attention, but it was his 2011 release "Felt" that was met with critical acclaim. It was his first studio album on Erased Tapes, which has released his music since. It was followed by the solo synthesizer EP "Juno"; and by "Screws" (2012), recorded while Frahm was recovering from a thumb injury, and which was offered as a free download to fans on his birthday. His follow-up to "Juno", titled "Juno Reworked" (2013), featured guest reworks by Luke Abbott and Chris Clark.

paragraph: Frahm's album "Spaces" (2013) was made of live recordings from various venues spanning two years.

paragraph: In December 2013, Frahm released his first music book, "Sheets Eins" (First Sheets), published by Manners McDade. In 2016 the follow-up "Sheets Zwei" was released.

paragraph: In 2014, Frahm announced his new piano "Una Corda", specially designed and made for him by David Klavins. It weighs under 100 kg and has one string per key. (Standard pianos have from one to three strings per key.)

paragraph: His album "Solo" (2015), an improvised single take with no overdubs, was later recorded on the "Modell 370", a 370 cm high vertical piano also made by David Klavins. It was one of 19 records nominated for the IMPALA Album of the Year Award.

paragraph: A condensed version of Frahm's single "More" was featured in the trailer for the video game Assassin's Creed Unity gamescom.

paragraph: In 2015, Frahm composed his first original film score, for the German film "Victoria", a 140-minute continuous take directed by Sebastian Schipper. He also collaborated with Woodkid on the critically acclaimed short film "ELLIS" directed by JR which was released in October 2015.

paragraph: In the same year, Frahm created "Piano Day", celebrated on the 88th day of the year (due to the standard piano's 88 keys). The event's first project was the construction, with David Klavins, of the Modell 450 piano, the successor to the Modell 370.

paragraph: In February 2016, Frahm released "The Gamble", followed by its companion release "Oddments of the Gamble" in August 2016. "Pitchfork" described the album as "charmingly patched together and messy as it is well-paced and dynamic". The material was recorded over eight years while the artwork was produced by Frahm's father.

paragraph: In 2016 Frahm curated "Possibly Colliding" at the Barbican Centre in London, featuring a weekend of music, art and films.

paragraph: Section::::Core attitudes.

paragraph: Frahm has said "I’m interested in how human beings react in certain situations, and what music does to people’s emotions. How we can change people’s attitudes with tones. After I’ve played a good concert, people leave the room happy. This is something we can give back to the world. When people feel down and like it’s all going to shit, at least we can give them some music and change their attitude so people don’t think it’s all shit... That’s my religion."

paragraph: Section::::Equipment.

paragraph: Frahm is known for using vintage gear on his songs and live performances. This is a list of some of his main equipment:

paragraph: BULLET::::- Roland Juno 60

paragraph: BULLET::::- Fender Rhodes

paragraph: BULLET::::- Oberheim Four Voice

paragraph: BULLET::::- Korg PS-3100

paragraph: BULLET::::- Roland SH-2

paragraph: BULLET::::- Moog Memorymoog

paragraph: BULLET::::- Dynacord VRS-23

paragraph: BULLET::::- Mellotron M400

paragraph: BULLET::::- Roland RE-501 Chorus Echo

paragraph: BULLET::::- Studer A80 Tape Recorder

paragraph: BULLET::::- Nagra IV-S

paragraph: BULLET::::- Binson Echorec 2

paragraph: BULLET::::- Universal Audio 1176 Blue Strip Fet Limiter

paragraph: BULLET::::- Melodium 42b

paragraph: BULLET::::- Electro-Harmonix XO Germanium OD Overdrive

paragraph: BULLET::::- Electro-Harmonix #1 Echo Digital Delay Guitar Effects Pedal

paragraph: BULLET::::- Moog Taurus Bass Pedal Synthesizer Version 3

paragraph: BULLET::::- Ernie Ball Volume Pedal

paragraph: BULLET::::- Moog MF-102 Moogerfooger Ring Modulator

paragraph: BULLET::::- MFB-522 (drum machine)

paragraph: BULLET::::- Vermona DRM1 (drum machine)

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Solo albums.

paragraph: BULLET::::- "Streichelfisch" (2005, AtelierMusik)

paragraph: BULLET::::- "Electric Piano" (2008, AtelierMusik)

paragraph: BULLET::::- "My First EP" (2008, AtelierMusik)

paragraph: BULLET::::- "The Bells" (2009, Kning Disk, Erased Tapes)

paragraph: BULLET::::- "Felt" (2011, Erased Tapes)

paragraph: BULLET::::- "Screws" (2012, Erased Tapes)

paragraph: BULLET::::- "Spaces" (2013, Erased Tapes)

paragraph: BULLET::::- "Solo" (2015, Erased Tapes)

paragraph: BULLET::::- "All Melody" (2018, Erased Tapes)

paragraph: Section::::Discography.:EPs.

paragraph: BULLET::::- "Wintermusik" (2009, AtelierMusik)

paragraph: BULLET::::- "Unter/Über" (2010, Erased Tapes)

paragraph: BULLET::::- "Juno" (2011, Erased Tapes)

paragraph: BULLET::::- "Encores 1" (2018, Erased Tapes)

paragraph: BULLET::::- "Encores 2" (2019, Erased Tapes)

paragraph: Section::::Discography.:Compilation albums.

paragraph: BULLET::::- "Screws Reworked" (2015, Erased Tapes)

paragraph: BULLET::::- "" (2015, Late Night Tales)

paragraph: Section::::Discography.:Soundtrack albums.

paragraph: BULLET::::- "Music for the Motion Picture Victoria" (2015, Erased Tapes)

paragraph: BULLET::::- "ELLIS" (2016, Erased Tape, with Woodkid)

paragraph: Section::::Discography.:Collaborations.

paragraph: BULLET::::- "Dauw (Split)" (2009, Dekorder, with Machinefabriek)

paragraph: BULLET::::- "Music for lovers Music versus time" (2010, Sonic Pieces, with F.S. Blumm)

paragraph: BULLET::::- "7Fingers" (2010, HUSH, Erased Tapes, with Anne Müller)

paragraph: BULLET::::- "Mort Aux Vaches (2011, Staalplaat, with Peter Broderick, Machinefabriek, Romke Kleefstra, Anne-Chris Bakker, Jan Kleefstra)

paragraph: BULLET::::- "Stare" (2012, Erased Tapes, with Ólafur Arnalds)

paragraph: BULLET::::- "Music for wobbling Music versus gravity" (2013, Sonic Pieces, with F.S. Blumm)

paragraph: BULLET::::- "Life Story Love And Glory" (Erased Tapes, with Ólafur Arnalds)

paragraph: BULLET::::- "Loon" (2015, Erased Tapes, with Ólafur Arnalds)

paragraph: BULLET::::- "Collaborative Works" (2015, Erased Tapes, with Ólafur Arnalds)

paragraph: BULLET::::- "Trance Frendz" (2016, Erased Tapes, with Ólafur Arnalds)

paragraph: BULLET::::- "The Gamble" (2016, Durton Studio, with Frederic Gmeiner and Sebastian Singwald)

paragraph: BULLET::::- "Tag Eins Tag Zwei" (2016, Sonic Pieces, with F.S.Blumm)

paragraph: BULLET::::- "Bergschrund" (2016, Mass Appeal, with DJ Shadow)

paragraph: Section::::Discography.:Theatre collaborations.

paragraph: BULLET::::- "Laughter in the dark" (2014, with Hotel Pro Forma)

paragraph: Section::::Discography.:Print.

paragraph: BULLET::::- "Sheets Eins" (2013, Manners Mcdade/Erased Tapes)

paragraph: BULLET::::- "Sheets Zwei" (2016, Manners Mcdade/Erased Tapes)

paragraph: Section::::External links.

paragraph: BULLET::::- Frahm on Erased Tapes's website

paragraph: BULLET::::- Frahm's music book Sheets Eins

paragraph: BULLET::::- 2013 interview with "Interview"/a

description: musician, composer and producer

wikidata_label: Nils Frahm

wikipedia_title: Nils Frahm


text:
American football
wide receiver
Tampa Bay Storm
Jacksonville Sharks
Tampa Bay Storm
Jacksonville Sharks
Tampa Bay Storm Bio

categories: Northwest Mississippi Rangers football players,1987 births,American football wide receivers,Tampa Bay Storm players,Living people

paragraph: Michael Lindsey

paragraph: Michael Lindsey (born July 10, 1987) is an American football wide receiver who is currently a free agent. He has played for the Tampa Bay Storm and Jacksonville Sharks.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:Tampa Bay Storm.

paragraph: In 2011, Lindsey signed with the Tampa Bay Storm. He had a tremendous rookie season with the Storm, shattering the franchise record for kickoff return yards in a single season. He re-signed with the Storm for the 2012 season.

paragraph: Section::::Professional career.:Jacksonville Sharks.

paragraph: On August 13, 2015, Lindsey was assigned to the Jacksonville Sharks.

paragraph: On June 16, 2016, Lindsey was assigned to the Storm.. On July 8, 2016, Lindsey was placed on reassignment. He was assigned to the Storm on January 12, 2017. The Storm folded in December 2017.

paragraph: Section::::External links.

paragraph: BULLET::::- Tampa Bay Storm Bio

description: American football player

wikidata_label: Michael Lindsey

wikipedia_title: Michael Lindsey


text:
Naples
Milan
Brera Academy
Eugenio Gignous
Venice
Mantua
Berlin
Munich
Achille Formis
Artgate
Fondazione Cariplo

categories: Italian landscape painters,Italian male painters,Brera Academy alumni,1832 births,Milanese painters,Neapolitan painters,20th-century Italian painters,19th-century Italian painters,1906 deaths

paragraph: Achille Formis

paragraph: Achille Befani (1832–1906) was an Italian painter, best known as Achille Formis.

paragraph: Section::::Biography.

paragraph: He was born in Naples and embarked on a singing career there. This was abandoned in the early 1860s when he moved to Milan to attend courses of the Brera Academy of Fine Arts under the pseudonym "Formis". The works on Eastern subjects that he painted on his return from repeated travels in the Near East were highly esteemed. These were joined in the 1870s by landscapes set in the Lombard countryside and the area around Lake Maggiore, which made Formis a respected figure in the school of Lombard Naturalism alongside painters like Eugenio Gignous, his friend since the years at the Brera. He took part in the annual Brera exhibitions and the Esposizione Nazionale Artistica of 1887 in Venice, where he returned in 1899 with a view of the countryside around Mantua. He also exhibited work in Berlin (1896) and Munich in 1901 and 1906, the year of his death in Milan.

paragraph: Section::::References.

paragraph: BULLET::::- Laura Casone, Achille Formis, online catalogue Artgate by Fondazione Cariplo, 2010, CC BY-SA (source for the first revision of this article).

alias:
Achille Formis Befani
Achille Formis-Befani

description: Italian painter

wikidata_label: Achille Formis

wikipedia_title: Achille Formis


text:
Castelrotto di Valpolicella
Verona
Milan
Venice Academy of Fine Arts
Brera Academy
Thorvaldsen
Pietro Tenerani
Milan
Verona
Neoclassical
Museo Civico
Innocenzo Fraccaroli
Artgate
Fondazione Cariplo

categories: 19th-century Italian sculptors,People from the Province of Verona,1805 births,1882 deaths

paragraph: Innocenzo Fraccaroli

paragraph: Innocenzo Fraccaroli (1805, in Castelrotto di Valpolicella (Verona) – 1882, in Milan) was an Italian sculptor.

paragraph: A student at the Venice Academy of Fine Arts, Fraccaroli was the winner of the Brera Academy’s prize for sculpture in 1829. This success enabled him to complete his studies from 1830 to 1835 in Rome, where he met and mixed with some of the greatest sculptors of the day, including Thorvaldsen and Pietro Tenerani. Having returned to Milan in 1836 after a short stay in Verona, he focused in the 1840s on the customary mythological subjects and portraiture, adopting a style of austere Neoclassical ancestry but with unprecedented expressive intensity. A regular participant in the Brera exhibitions, he attained full recognition with participation in the Great Exhibition of 1851 in London and the Universal Exhibition of 1855 in Paris. Allegorical interpretations of the ideals of the struggle for national liberation known as the Risorgimento gave way in the 1850s to the production of openly patriotic works. The artist’s activities diminished in the 1860s as a result of lack of success in the major competitions for public monuments – probably due to his outmoded classical style – and failure to obtain the chair in sculpture at the Brera Academy. The years of his maturity saw a particular focus on religious works and commemorative monuments. In 1876, on retiring from the world of art, he donated the plaster models of his most important works to the Museo Civico in Verona.

paragraph: Section::::References.

paragraph: BULLET::::- Elena Lissoni, Innocenzo Fraccaroli, online catalogue Artgate by Fondazione Cariplo, 2010, CC BY-SA (source for the first revision of this article).

description: Italian sculptor

wikidata_label: Innocenzo Fraccaroli

wikipedia_title: Innocenzo Fraccaroli


text:
Giovanni Romagnoli
Giorgio Morandi
Paris
Rome
Milan
World War II
Franco Gentilini
Artgate
Fondazione Cariplo

categories: 20th-century Italian painters,1909 births,People from Faenza,Italian male painters

paragraph: Franco Gentilini

paragraph: Franco Gentilini (Faenza (Ravenna), 1909 – Rome, 1981) was an Italian painter.

paragraph: Section::::Biography.

paragraph: Franco Gentilini worked as a ceramist in Faenza and collaborated with Giovanni Romagnoli and Giorgio Morandi in Bologna. He took part in numerous editions of the Venice Biennale, beginning with the acceptance of his work for the 17th Esposizione Internazionale d’Arte della Città di Venezia in 1930, when he also visited Paris.

paragraph: He moved to Rome in 1932 and held his first solo show at the Galleria di Roma with works in an archaic style inspired by pre-Renaissance Italian art. He also established himself as a fresco painter. He took part in the 5th Esposizione Internazionale delle Arti Decorative in Milan in 1933 and the 2nd Quadriennale Nazionale d’Arte in Rome in 1935, on which occasion the city’s governing body bought one of his works. It was in the late 1930s that he began to associate with the artists of the Roman School. There was considerable demand for his work among private Italian collectors after World War II, not least because of his participation in numerous exhibitions.

paragraph: Section::::References.

paragraph: BULLET::::- Antonella Crippa, Franco Gentilini, online catalogue Artgate by Fondazione Cariplo, 2010, CC BY-SA (source for the first revision of this article).

description: Italian painter

wikidata_label: Franco Gentilini

wikipedia_title: Franco Gentilini


text:
Trinidadian
Roman Catholic
prelate
Archbishop of Port of Spain
Bridgetown
Kingston
death sentences
gang violence
Trinidad and Tobago
ordained
Mount Saint Benedict
Louvain college
Belgium
London
Catholic Charismatic Renewal
Port of Spain
Peter Turkson
Pope Benedict XVI
Monsignor
Bishop of Kingstown
Saint Vincent and Grenadines
Bishop of Bridgetown
Barbados
episcopal consecration
Robert Rivas
co-consecrators
Pope Francis
Archbishop of Port of Spain
altar server
Catholic Hierarchy

categories: Bishops appointed by Pope Francis,1959 births,Bishops appointed by Pope Benedict XVI,Saint Vincent and the Grenadines Roman Catholic bishops,Bishops of Barbados,People from Port of Spain,Barbadian Roman Catholic bishops,Living people

paragraph: Charles Jason Gordon

paragraph: Charles Jason Gordon (born 17 March 1959) is a Trinidadian Roman Catholic prelate and the current Archbishop of Port of Spain since his appointment in 2017. He had served prior to this as a parish priest for Gonzales before serving as the bishop for both Bridgetown and Kingston. Gordon is known for his opposition to death sentences and favours peacemaking and bridge building in local disputes and gang violence.

paragraph: Section::::Life.

paragraph: Charles Jason Gordon was born in Trinidad and Tobago on 17 March 1959.

paragraph: Gordon managed his father's failing business after his father died and managed to make it profitable all the while becoming involved in parish initiatives that led him to decide to enter the religious life. He had shown his engagement in projects teaching skills to displaced people with an emphasis on adolescents. He was ordained to the priesthood in 1991. In the late 1980s (after selling the business in 1991) and into the 1990s he studied at Mount Saint Benedict and later at the Louvain college in Belgium where he got his bachelor's and master's in theological studies before completing his doctorate in London. He later became involved in the Catholic Charismatic Renewal and was an active participant in their work.

paragraph: In 2003 he was made the parish priest for Gonzales. He received some awards for his project to bring peace in the eastern part of Port of Spain through the participation of all the stakeholders (including the gangs and their leaders). He mediated between communities in conflict and improved the standing of the Church while saving lives at the same time which earned him praise from Cardinal Peter Turkson. He celebrated a television Mass once a week and this reached out to as much as 50 000 people per week. Pope Benedict XVI named him as a Monsignor in 2009.

paragraph: In 2011 he was appointed as the Bishop of Kingstown in Saint Vincent and Grenadines and as the Bishop of Bridgetown in Barbados. He received his episcopal consecration from Joseph Everard Harris with Robert Rivas and Malcolm Patrick Galt serving as the co-consecrators on 21 September 2011 which came two months following his appointment. His consecration was celebrated in a tent in front of the Bridgetown Cathedral. Pope Francis later accepted his resignation from Kingstown in 2015 but continued to serve in Bridgetown until the pope appointed him as the Archbishop of Port of Spain in his homeland on 19 October 2017. He will be enthroned in his new archdiocese on 27 December 2017.

paragraph: In March 2016 he was charged with the physical (not sexual) assault of the altar server Junior Blackman (b. 1974) and the case was brought to the Magistrates' Court that December . Gordon appeared in court and was granted bail after asserting he was innocent of the charges. The Magistrate Kristie Cuffie-Sargeant dismissed the case on 14 July 2017 since Blackman was no longer interested in pursuing the case.

paragraph: On an annual basis he embarks on a week-long retreat for silence and solitude.

paragraph: Section::::Positions.

paragraph: Section::::Positions.:Corporal punishment.

paragraph: Gordon is against death sentences and considers it to be nothing more than "state-sponsored murder". The bishop elaborated that "it's still murder" regardless of who perpetrates it and that "its escalating the violence" rather than focusing on stopping it. He also continued that "all people have human dignity ... that dignity does not go away when we do something really bad".

paragraph: Section::::External links.

paragraph: BULLET::::- Catholic Hierarchy

description: Barbadian bishop

wikidata_label: Charles Jason Gordon

wikipedia_title: Charles Jason Gordon


text:
Israel
photographer
Peter Zadek
Walter Zadek on Artfact

categories: Israeli artists,Israeli photographers,1900 births,1992 deaths

paragraph: Walter Zadek

paragraph: Walter Zadek (26 March 1900 – 20 December 1992) was an Israeli photographer, and uncle of the theatre director Peter Zadek.

paragraph: Section::::Selected artwork.

paragraph: BULLET::::- 1925 Photograph of the Mounting of the " Tel Aviv Municipality" Sign

paragraph: BULLET::::- 1934 Girl with flag

paragraph: BULLET::::- 1936 Woman on a swing, Palestine

paragraph: BULLET::::- 1939 Immigrants aboard the Parita ship

paragraph: Section::::References.

paragraph: BULLET::::- General

paragraph: BULLET::::- Specific

paragraph: Section::::External links.

paragraph: BULLET::::- Walter Zadek on Artfact

description: Israeli photographer

wikidata_label: Walter Zadek

wikipedia_title: Walter Zadek


text:
Kassite
Babylon
Middle Chronology
Amenhotep III
Egypt
Amarna letters
14th century BC
EA 1
Kurigalzu I
EA 2
EA 3
EA 4
EA 5
Isin
Larsa
Nippur
stamped brick
Enlil
door socket
cuneiform
Burra-Buriaš
İstanbul Arkeoloji Műzeleri
1370s BC
1360s BC
14th century BC

categories: 1360s BC deaths,14th-century BC Babylonian kings,Amarna letters writers,Kassite kings

paragraph: Kadashman-Enlil I

paragraph: Kadašman-Enlil I, typically rendered "ka-dáš-man-" in contemporary inscriptions (with the archaic masculine determinative preceding his name), was a Kassite King of Babylon from ca. 1374 BC to 1360 BC (Middle Chronology), perhaps the 18th of the dynasty. He is known to have been a contemporary of Amenhotep III of Egypt, with whom he corresponded (Amarna letters). This places Kadašman-Enlil securely to the first half of the 14th century BC by most standard chronologies.

paragraph: Section::::Correspondence with Egypt.

paragraph: In the first letter from Amenhotep III, EA 1, he writes to assure Kadašman-Enlil that his sister, the daughter of Kurigalzu I, has not in fact died, nor had she been banished to a distant harem as a minor concubine, and to acknowledge the offer of one of Kadašman-Enlil’s daughters, to become, as yet another wife. He suggests Kadašman-Enlil dispatch a "kamiru", tentatively translated as "eunuch", to identify his sister, rather than the pair of envoys actually sent, on whom Amenhotep casts aspersions, describing one as a donkey-herder. The text is not entirely legible at this point, and the unfortunate envoy may actually be referred to as a caravan leader, and his companion a merchant, thus – these “nobodies” are merely common 'tradesmen' unfamiliar with the members of the royal household and thus unable to recognize Kadašman-Enlil’s sister.

paragraph: In EA 2 he declares “my daughters are available (for marriage).”

paragraph: In EA 3, Kadašman-Enlil feigns offence about being overlooked for an invite to the "isinnu" festival. Disarmingly, however, he invites his “brother”-(Pharaoh Amenhotep III) to his own inauguration. ‘Now I am going to have a grand opening for the palace. Come yourself to eat and drink with me. I shall not do as you did!”

paragraph: In another of his letters, EA 4, Kadašman-Enlil complains to Amenhotep III about not being given one of "his" daughters as a wife, quoting Amenhotep’s earlier response that “since earliest times no daughter of the king of Egypt has ever been given in marriage [to anyone]”. He urges that if he could not receive a princess, then a beautiful woman should be sent, but immediately follows up by proposing to exchange one of his own daughters for gold, needed to fund a building project he had in mind.

paragraph: In EA 5, Amenhotep writes to detail the long list of "gifts" that will be provided in exchange for Kadašman-Enlil’s daughter, and the deal is sealed.

paragraph: Section::::Building works.

paragraph: Difficulties are encountered distinguishing between inscriptions belonging to Kadašman-Enlil I and his descendant Kadašman-Enlil II, who ruled around one hundred years later. Historians disagree on whether building inscriptions at Isin, for the Egalmaḫ of Gula, or in Larsa, on bricks bearing a sixteen-line inscription of the restoration of the Ebabbar temple for Šamaš, should be assigned to the earlier King. The inscriptions from Nippur which include stamped bricks from the east stairway of the ziggurat and elsewhere describing work on the Ekur, the “House of the Mountain” of Enlil, four inscribed slab fragments of red-veined alabaster, a five-line agate cameo votive fragment, an engraved stone door socket, and so on, could be assigned in part to either King.

paragraph: Section::::Length of reign.

paragraph: An economic tablet from Nippur is dated “15th year (of) Kadašman-Enlil, month of Tašrītu, 18th day”, and is ascribed to him, rather than his descendant name-sake, because of the more archaic use of the masculine personal determinative before the royal name (the single vertical cuneiform stroke), and the likelihood that the later king reigned for no more than nine years. Another one refers to the 1st year of Burra-Buriaš and the 15th of the preceding king, presumed to be Kadašman-Enlil.

paragraph: His successor was his son, ascertained from an inscription on an irregular block of lapis lazuli found in Nippur and now housed in the İstanbul Arkeoloji Műzeleri, the considerably more well-known Burna-Buriaš II, who also wrote several letters preserved in Egyptian archives to the Egyptian pharaoh (Amarna letters).

paragraph: Section::::See also.

paragraph: BULLET::::- 1370s BC

paragraph: BULLET::::- 1360s BC

paragraph: BULLET::::- 14th century BC

description: Kassite king

wikidata_label: Kadashman-Enlil I

wikipedia_title: Kadashman-Enlil I


text:
draftsman
painter
watercolour
landscape
Alexander Cozens
London
Society of Artists
oil painting
Royal Academy
Switzerland
Italy
William Beckford
Naples
Royal Academy
nervous breakdown
Bethlem Royal Hospital
Thomas Monro
Thomas Girtin
J. M. W. Turner
poetry
John Constable
engraving
Sotheby's
Rijksmuseum Amsterdam
Gallery Oldham
English school of painting
Artcyclopedia: John Robert Cozens

categories: English watercolourists,English male painters,1797 deaths,18th-century English painters,Painters from London,1752 births,English romantic painters,Landscape artists

paragraph: John Robert Cozens

paragraph: John Robert Cozens (1752 – 14 December 1797) was a British draftsman and painter of romantic watercolour landscapes.

paragraph: Section::::Biography.

paragraph: The son of the Russian-born drawing master and watercolourist, Alexander Cozens, John Robert Cozens was born in London. He studied under his father and began to exhibit some early drawings with the Society of Artists in 1767. In 1776, he displayed a large oil painting at the Royal Academy in London. Between 1776 and 1779 he spent some time in Switzerland and Italy, where he drew Alpine and Italian views, and in 1779 he returned to London. In 1782 he made his second visit to Italy, accompanied by the author William Beckford, spending much time at Naples. In 1783 he returned to England. In 1789 he published a set of "Delineations of the General Character ... of Forest Trees". He submitted his work to the Royal Academy but it was entirely rejected, being judged as "not proper art". At the age of 42, three years before he died, he suffered a nervous breakdown and was committed to the Bethlem Royal Hospital asylum. The chief physician there was Dr. Thomas Monro who, also being a keen art collector, recognised Cozens' brilliance and bought his collection. Cozens died in London.

paragraph: Section::::Works.

paragraph: Cozens executed watercolors in curious atmospherical effects and illusions which had some influence on Thomas Girtin and J. M. W. Turner. Indeed, his work is full of poetry. There is a solemn grandeur in his Alpine views and a sense of vastness, a tender tranquility and a kind of mystery in most of his paintings, leaving parts in his pictures for the imagination of the spectator to dwell on and search into. John Constable called him "the greatest genius that ever touched landscape." On the other hand, Cozens never departed from his primitive, almost rudimentary, manner of painting, which causes several of his works to look very like coloured engravings.

paragraph: In June 2010 Cozen's "Lake Albano" (c.1777) sold at auction, at Sotheby's in London, for £2.4 million, a record for any 18th-century British watercolour.

paragraph: Section::::Public Collections.

paragraph: BULLET::::- Rijksmuseum Amsterdam

paragraph: BULLET::::- Gallery Oldham

paragraph: Section::::See also.

paragraph: BULLET::::- English school of painting

paragraph: Section::::Further reading.

paragraph: BULLET::::- K. Sloan, "Alexander and John Robert Cozens The Poetry of Landscape" (1986)

paragraph: BULLET::::- A. P. Oppe, "Alexander and John Robert Cozens" (1952)

paragraph: Section::::External links.

paragraph: BULLET::::- Artcyclopedia: John Robert Cozens

alias:
Cozens the Younger
John Robert Cosens
John Robert Cousens
John Robert Couzens
J.R. Cozens
Mr. Cozens
Cosens
John Cozens
J. Cozens
Cozens
Mr. Cousins

description: British artist

wikidata_label: John Robert Cozens

wikipedia_title: John Robert Cozens


text: sculptor

text: photographer

text: tensegrity

text: Buckminster Fuller

text: tension

text: structural integrity

text: Kārlis Johansons

text: Pendleton, Oregon

text: University of Oregon

text: Black Mountain College

text: Fernand Léger

text: Paris

text: Park Place Gallery

text: atom

text: SoHo

text: Jonathan Monaghan

text: New York City

text: Mark di Suvero

text: John Raymond Henry

text: Lyman Kipp

text: Charles Ginnever

text: prostate cancer

text: Lifetime Achievement in Contemporary Sculpture Award

text: Birmingham Museum of Art

text: Stanford University

text: Needle Tower

text: Hirshhorn Museum and Sculpture Garden

text: Hirshhorn Museum and Sculpture Garden

text: National Institutes of Health

text: City of Baltimore

text: Six Number Two

text: Solomons, Maryland

text: Wellesley College

text: Joslyn Art Museum

text: Albright-Knox Art Gallery

text: Buffalo

text: Storm King Art Center

text: Whitney Museum of American Art

text: One World Trade Center

text: Asheville Art Museum

text: Carnegie Institute

text: University of Cincinnati

text: Columbus Museum of Art

text: Kirkpatrick Oil Company Building

text: Knoxville Museum of Art

text: Hunter Museum

text: Milwaukee Art Museum

text: space frame

text: Kārlis Johansons

text: "A Decade of Sculpture: the New Media in the 1960s"

text: Associated University Presses

text: London

text: Kenneth Snelson's official webpage

text: Snelson interview with Robert Ayers, March 2009

categories: Black Mountain College alumni,Members of the American Academy of Arts and Letters,Op art,Deaths from prostate cancer,Deaths from cancer in New York (state),2016 deaths,1927 births,Sculptors from Oregon,People from Pendleton, Oregon

paragraph: Kenneth Snelson

paragraph: Kenneth Duane Snelson (June 29, 1927 – December 22, 2016) was an American contemporary sculptor and photographer. His sculptural works are composed of flexible and rigid components arranged according to the idea of 'tensegrity'. Snelson preferred the descriptive term floating compression.

paragraph: Snelson said his former professor Buckminster Fuller took credit for Snelson's discovery of the concept that Fuller named tensegrity. Fuller gave the idea its name, combining 'tension' and 'structural integrity.' Ironically Kārlis Johansons had exhibited tensegrity sculptures several years before Snelson was even born. The height and strength of Snelson's sculptures, which are often delicate in appearance, depend on the tension between rigid pipes and flexible cables.

paragraph: Section::::Biography.

paragraph: Snelson was born in Pendleton, Oregon, in 1927. He studied at the University of Oregon in Eugene, at the Black Mountain College, and with Fernand Léger in Paris. His sculpture and photography have been exhibited at over 25 one-man shows in galleries around the world including the structurally seminal Park Place Gallery in New York in the 1960s. Snelson also did research on the shape of the atom. Snelson continued to work in his SoHo studio, occasionally collaborating with animator Jonathan Monaghan. He lived in New York City with his wife, Katherine.

paragraph: He held five United States patents: #3,169,611: Discontinuous Compression Structures, February, 1965; #3,276,148: Model for Atomic Forms, October, 1966; #4,099,339: Model for Atomic Forms, July, 1978; and #6,017,220: Magnetic Geometric Building System; and most recently, #6,739,937: Space Frame Structure Made by 3-D Weaving of Rod Members, May 25, 2004.

paragraph: Snelson was a founding member of ConStruct, the artist-owned gallery that promoted and organized large-scale sculpture exhibitions throughout the United States. Other founding members include Mark di Suvero, John Raymond Henry, Lyman Kipp and Charles Ginnever.

paragraph: After suffering from prostate cancer, Snelson died on December 22, 2016 at the age of 89.

paragraph: Section::::Honours and awards.

paragraph: BULLET::::- (1999) Lifetime Achievement in Contemporary Sculpture Award, International Sculpture Center.

paragraph: Section::::Sculptures in public collections and public spaces.

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Alabama.

paragraph: BULLET::::- "Mora Terry II", Birmingham Museum of Art, Birmingham

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:California.

paragraph: BULLET::::- "City Boots", 1968, J. Patrick Lannon Foundation, Los Angeles

paragraph: BULLET::::- "Mozart I", 1982, Stanford University, Palo Alto

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:District of Columbia.

paragraph: BULLET::::- "Needle Tower", 1968, Hirshhorn Museum and Sculpture Garden, Washington

paragraph: BULLET::::- "Untitled Maquette", 1975, Hirshhorn Museum and Sculpture Garden, Washington

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Florida.

paragraph: BULLET::::- "Newport", 1968, M. Margulies, Coconut Grove

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Iowa.

paragraph: BULLET::::- "Four Module Piece", 1968, Terrell Mill Park, Iowa City

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Louisiana.

paragraph: BULLET::::- "Virlane Tower", 1981, Sydney and Walda Besthoff Sculpture Garden at NOMA, New Orleans

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Maryland.

paragraph: BULLET::::- "B-Tree", 1981, National Institutes of Health, Bethesda

paragraph: BULLET::::- "Easy Landing", 1977, City of Baltimore, Baltimore

paragraph: BULLET::::- "Six Number Two", 1967, Annmarie Sculpture Garden (Smithsonian partner/annex site), Solomons, Maryland

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Massachusetts.

paragraph: BULLET::::- "Mozart III", 2008, Science Center, Wellesley College, Wellesley,

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Michigan.

paragraph: BULLET::::- "Indexer II", 2001, University of Michigan, Ann Arbor

paragraph: BULLET::::- "B-Tree II", 2005, Frederik Meijer Gardens & Sculpture Park, Grand Rapids

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Missouri.

paragraph: BULLET::::- "Triple Crown", 1991, Hallmark, Inc. Kansas City

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Nebraska.

paragraph: BULLET::::- "Able Charlie", 1983, Joslyn Art Museum, Omaha

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:New York.

paragraph: BULLET::::- "Coronation Day", 1980, City of Buffalo, Buffalo

paragraph: BULLET::::- "E.C. Column", 1969–81, Albright-Knox Art Gallery, Buffalo

paragraph: BULLET::::- "Four Chances", 1982, Albright Knox Museum, Buffalo

paragraph: BULLET::::- "Fair Leda", 1969, Nelson Rockefeller Estate

paragraph: BULLET::::- "Free Ride Home", 1974, Storm King Art Center, Mountainville

paragraph: BULLET::::- "Mozart II", 1982, Donald M. Kendall Sculpture Garden at Pepsico, Purchase

paragraph: BULLET::::- "Sun River", 1967, Whitney Museum of American Art, New York

paragraph: BULLET::::- "One World Trade Center antenna/spire", 2006, One World Trade Center, New York

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:New Jersey.

paragraph: BULLET::::- "Northwood II", 1970, Compton Quad, Graduate College, Princeton, Mercer

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:North Carolina.

paragraph: BULLET::::- "Northwood II"(maquette), 1970, Asheville Art Museum, Asheville

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Pennsylvania.

paragraph: BULLET::::- "Forest Devil", 1975–77, Museum of Art, Carnegie Institute, Pittsburgh

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Ohio.

paragraph: BULLET::::- "Forest Devil", 1975, University of Cincinnati, Cincinnati

paragraph: BULLET::::- "V-X", 1968, Columbus Museum of Art, Columbus

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Oklahoma.

paragraph: BULLET::::- "Sleeping Dragon", 2002–03, Kirkpatrick Oil Company Building, Oklahoma City

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Tennessee.

paragraph: BULLET::::- "Dragon II", 2005, Knoxville Museum of Art, Knoxville

paragraph: BULLET::::- "V-X-II", 1973-4, Hunter Museum, Chattanooga

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Texas.

paragraph: BULLET::::- "Northwood", 1969, Northwood Institute, Cedar Hills

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Vermont.

paragraph: BULLET::::- "Hard Wired", Bennington (College)

paragraph: Section::::Sculptures in public collections and public spaces.:United States.:Wisconsin.

paragraph: BULLET::::- "Northwoods III", 1970, Milwaukee Art Museum, Milwaukee

paragraph: Section::::Sculptures in public collections and public spaces.:International.:Germany.

paragraph: BULLET::::- "Soft Landing", 1975–77, Berlin Nationalgalerie, Berlin

paragraph: BULLET::::- "Avenue K", 1968, City of Hannover

paragraph: Section::::Sculptures in public collections and public spaces.:International.:The Netherlands.

paragraph: BULLET::::- "Easy-K", 1970, Sonsbeek ‘70, Arnhem

paragraph: BULLET::::- "Needle Tower II", 1969, Kröller Müller Museum, Otterlo

paragraph: Section::::Sculptures in public collections and public spaces.:International.:Japan.

paragraph: BULLET::::- "Osaka", 1970, Japan Iron & Steel Federation, Kobe

paragraph: BULLET::::- "T-Zone Flight", 1995, JT Building, Toranomon, Tokyo

paragraph: BULLET::::- "Landing", 1970, Wakayama Prefecture Museum, Wakayama

paragraph: Section::::Sculptures in public collections and public spaces.:Location Unknown.

paragraph: BULLET::::- "Audrey I", 1966, Private Collection

paragraph: BULLET::::- "Audrey II", 1966, Private Collection

paragraph: BULLET::::- "Equilateral Quivering Tower", 1973–92

paragraph: BULLET::::- "Tri-Core Column", 1974

paragraph: BULLET::::- "Wing I", 1992; Ed. 4, Private collection : University of Puerto Rico - Mayaguez

paragraph: BULLET::::- "Rainbow Arch", 2001

paragraph: BULLET::::- "Dragon", 2000–03

paragraph: Section::::See also.

paragraph: BULLET::::- space frame

paragraph: BULLET::::- Kārlis Johansons, tensegrity innovator

paragraph: Section::::References.

paragraph: BULLET::::- Busch, Julia M., "A Decade of Sculpture: the New Media in the 1960s" (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974)

paragraph: Section::::Further reading.

paragraph: BULLET::::- Heartney, Eleanor, "Kenneth Snelson: forces made visible/essay by Eleanor Heartney; additional text by Kenneth Snelson", Lenox, Massachusetts: Hard Press Editions, 2009.

paragraph: BULLET::::- Sande-Friedman, Amy, "Kenneth Snelson & the Science of Sculpture in 1960s America", Doctoral Dissertation, New York: Bard Graduate Center, 2012.

paragraph: Section::::External links.

paragraph: BULLET::::- Kenneth Snelson's official webpage

paragraph: BULLET::::- Letter from Snelson to R. Motro regarding Fuller's role in 'discovering' Tensegrity

paragraph: BULLET::::- Snelson interview with Robert Ayers, March 2009

description: American artist

wikidata_label: Kenneth Snelson

wikipedia_title: Kenneth Snelson