text:
Shinto
Inari shrine
Fushimi
waka
Emperor Reigen
Ihara Saikaku
Genroku period
Edo
norito
Man'yōshū
Nihon Shoki
Keichū
Confucianism
Kamo no Mabuchi
Hirata Atsutane
Tokugawa
Emperor Meiji
Japanese nationalism
Kokugaku
Motoori Norinaga
Hirata Atsutane

categories: 17th-century Japanese poets,1669 births,1736 deaths,Kokugaku scholars,Japanese writers of the Edo period

paragraph: Kada no Azumamaro

paragraph: Section::::Life.

paragraph: Azumamaro was born, the second son of Hakura Nobuaki (1625-1696), into a scholarly family that for generations had supplied Shinto priests to the Inari shrine in Fushimi. From an early age he studied traditional Japanese poetry, waka, and Shinto thought and belief, and his precocity was such that he was soon employed, in 1697, as poetry tutor to one of the sons of Emperor Reigen (regnabat 1663–1687).

paragraph: Fushimi at the time had been described by Ihara Saikaku as an economically depressed town that had fallen down in its fortunes. This marked it off from the flourishing cultural developments of the Genroku period. He set up an academy for studying and teaching his nativist ideas in the Inari shrine.

paragraph: In 1700 he settled in Edo, where his students mainly came from the Shinto clergy whom he instructed in norito prayers and the Shinto liturgy, though the curriculum also encompassed such ancient texts as the Man'yōshū and the Nihon Shoki. His studies in the former classic profited particularly from the Buddhist priest Keichū, and together these two figures may be considered as founding fathers of the movement of nativist thought known as kokugaku ("national studies").

paragraph: Azumamaro remained in Edo until 1713, when he returned to Fushimi. After a short time, he returned to Edo for a year on a stipend, but then retired to pursue his work in his native Fushima, where he was frequently consulted by members of the Bakufu regarding antiquarian matters regarding ancient court ceremonies and customs. He died by his own hand, after enduring many years of illness, in 1736.

paragraph: He developed an approach which drew a clear distinction between what was considered the native tradition of Japan from the prevalent socio-political orthodoxy of his day, Confucianism, but also sought to disentangle Japanese religion from the other major form of foreign thought, Buddhism. He regarded these foreign systems of belief and thought in adversarial terms.

paragraph: Kamo no Mabuchi, likewise the son of a Shinto priest and, like Azumamaro not of samurai origins, who was to become a major scholar of ancient literature, first met Azumamaro in 1722, and subsequently enrolled to study under him in 1728, and moving to Kyoto in 1733 to be taught by Azumamaro on a more permanent basis.

paragraph: Section::::Reputation.

paragraph: Within a century of his passing, Hirata Atsutane described Kada no Azumamaro as the first of Kokugaku's 'great men' ("taijin/ushi"). Kokugaku, together with the kogaku (古学: "Ancient Studies") school founded by Kamo no Mabuchi laid the foundations for both the renaissance of interest in Japanese classical poetry and culture, and for the nativist critique of Confucian ideology which was to prove of great ideological importance during and after the transformation of Tokugawa Japan into the modernizing nation of that country under Emperor Meiji .

paragraph: Section::::See also.

paragraph: BULLET::::- Japanese nationalism

paragraph: BULLET::::- Kokugaku

paragraph: BULLET::::- Motoori Norinaga

paragraph: BULLET::::- Hirata Atsutane

description: poet

wikidata_label: Kada no Azumamaro

wikipedia_title: Kada no Azumamaro


text:
Fat Freddy's Drop
Duke Ellington
Bill Withers
bNet NZ Music Awards
Fat Freddy's Drop
Shapeshifter
Clara Hill
Sonar Kollektiv
Boozoo Bajou
Dutch Rhythm Combo
Recloose
Peacefrog Records
Peacefrog Records
The Nextmen
Antidote Records
Peacefrog Records
TruTone
Jazzanova

categories: Living people,New Zealand male singers,Year of birth missing (living people)

paragraph: Dallas Tamaira

paragraph: Dallas Tamaira or as he is better known, Joe Dukie, is the vocalist for the New Zealand group Fat Freddy's Drop. His stage name is inspired from his father Joe, also a singer, and his grandfather, a musician nicknamed Dukie after Duke Ellington.

paragraph: Dallas' style is greatly influenced by Bill Withers. Tamaira was awarded Best Vocalist at the bNet NZ Music Awards 2005.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Solo (under the name "Dallas").

paragraph: BULLET::::- "Better Than Change EP" (The Drop, 1999)

paragraph: BULLET::::- "The Garden", on the compilation "Styles Upon Styles Part Two" (Sugarlicks, 2002)

paragraph: Section::::Discography.:With Bongmaster (Dallas, Iain Gordon, Mu, Antsmif).

paragraph: BULLET::::- Bongmaster, "Ground My Ego," Loop Select 003 (Loop, 2002)

paragraph: Section::::Discography.:With DJ Fitchie.

paragraph: BULLET::::- "Seconds" b/w "Grounded" (Especial, 2005)

paragraph: BULLET::::- "This Room" [split 12" with Fat Freddy's Drop] (Best Seven, 2003)

paragraph: BULLET::::- "Midnight Marauders" b/w dub version (Best Seven, 2002)

paragraph: BULLET::::- "Midnight Marauders" b/w "Seconds" (The Drop, 2002)

paragraph: Section::::Discography.:With Fat Freddy's Drop.

paragraph: See Fat Freddy's Drop discography.

paragraph: Section::::Discography.:Appearances on other artists' tracks.

paragraph: BULLET::::- Tubbs, "Five Day Night" [w/New Chefs Mix and Baloo Mix] (Carbon, 2003)

paragraph: BULLET::::- Tubbs, "Falling" (Carbon, 2003)

paragraph: BULLET::::- Twinset, "Sweet Thing" (Loop, 2003)

paragraph: BULLET::::- Markus Enochson, "Follow Me" (Vinyl Junkies, 2004)

paragraph: BULLET::::- Del Rey System, "Sweet Division" (Bounce Records, 2005)

paragraph: BULLET::::- Bongmaster Inc - Brothers & Sisters (2004)

paragraph: BULLET::::- Shapeshifter, "Long White Cloud" (Truetone, 2004)

paragraph: BULLET::::- Eva Be, "No Memory of Time" (Best Seven, 2004)

paragraph: BULLET::::- Clara Hill, "Flawless Part Two" (Sonar Kollektiv, 2004)

paragraph: BULLET::::- Tubbs, "Five Day Night" [w/Fat Freddy's Drop Mix and Baloo Mix] (Exceptional, 2005)

paragraph: BULLET::::- Boozoo Bajou, "Take It Slow" (Studio !K7, 2005)

paragraph: BULLET::::- Dutch Rhythm Combo, "Venom" (Pulver, 2005)

paragraph: BULLET::::- Recloose, "Dust" (Peacefrog Records, 2005)

paragraph: BULLET::::- Recloose, "Time Is on Your Side" (Peacefrog Records, 2005)

paragraph: BULLET::::- The Nextmen, "Did No Wrong" (Antidote Records, 2007)

paragraph: BULLET::::- The Nextmen, "The Drop" (Antidote Records, 2007)

paragraph: BULLET::::- Recloose, "Deeper Waters" (Peacefrog Records, 2008)

paragraph: BULLET::::- Pacific Heights, "Peace" (TruTone, 2008)

paragraph: BULLET::::- Jazzanova, "What Do You Want ?", (Sonar Kollektiv, 2008)

paragraph: BULLET::::- The Bamboos, "Venom"

paragraph: BULLET::::- Shapeshifter, "My Way", "Long White Cloud"

description: New Zealand singer

wikidata_label: Dallas Tamaira

wikipedia_title: Dallas Tamaira


text:
Alidosi
condottiero
Imola
Roberto Alidosi
Fermo
Gil de Albornoz
Bertrando
Faenza
Page at condottieridiventura.it

categories: 14th-century births,Alidosi family,Condottieri,1372 deaths

paragraph: Azzo Alidosi

paragraph: Azzo Alidosi (died 1372) was an Italian condottiero and a lord of Imola.

paragraph: The son of Roberto Alidosi, he was governor of Fermo in 1364–1367, and succeeded his father in Imola after his death. Named papal vicar of the city under the control of Cardinal Gil de Albornoz, he had first to face a rebellion of his brother Bertrando, whose result was that both were brought to Bologna by the papal forces. He could return to Imola in 1364. The following year he had to quench another rebellion of the Imolese, only to be jailed in Bologna by the papal legate in 1366; he could return in the same year.

paragraph: He married two times: with Rengarda Manfredi, from the ruling family of Faenza, and with Margherita di Castelbarco.

paragraph: He died in 1372.

paragraph: Section::::Sources.

paragraph: BULLET::::- Page at condottieridiventura.it

wikidata_label: Azzo Alidosi

wikipedia_title: Azzo Alidosi


text:
Maynooth
Naas
Llanstephan
Anglo-Norman
Norman Invasion
Marcher Lord
Robert FitzStephen
Cardigan
Robert FitzMartin
Battle of Crug Mawr
Wales
Llansteffan Castle
Maredudd ap Gruffydd
Diarmait Mac Murchada
King of Leinster
High King of Ireland
Cambro-Norman
Norman invasion of Ireland
Siege of Wexford (1169)
Raymond
Strongbow's
Waterford
Dublin
Arnulf de Montgomery
Earls of Kildare
Dukes of Leinster
Earldom of Desmond
province
Munster
John Fitzmaurice FitzThomas
Battle of Callann
Baron Desmond
Knights of Glin
Knights of Kerry
Gerald de Windsor
Pembroke Castle
Nest ferch Rhys
Deheubarth
Welsh
House of Dinefwr

categories: Anglo-Normans in Ireland,Anglo-Normans in Wales,Anglo-Normans,FitzGerald dynasty,1105 births,People from Pembrokeshire,Norman warriors,1176 deaths

paragraph: Maurice FitzGerald, Lord of Lanstephan

paragraph: Maurice FitzGerald, Lord of Maynooth, Naas, and Llanstephan (born: Windsor Castle c.1105 – September c.1176 Wexford, Ireland. He was a medieval Anglo-Norman baron and a major figure in the Norman Invasion of Ireland.

paragraph: Section::::Wars in Wales and Ireland.

paragraph: A Welsh Marcher Lord, Lord Lanstephan fought, along with his older brother William, and half-brother Robert FitzStephen, constable of Cardigan, under Robert FitzMartin at the Battle of Crug Mawr in Wales in 1136.

paragraph: Llansteffan Castle overlooks the River Tywi estuary where it enters Carmarthen Bay. It was captured by Maredudd ap Gruffydd in 1146 against the forces of Maurice FitzGerald and his brother William, Lord of Emlyn who were the leading Norman settlers of the region. The castle was retaken by the Normans in 1158.

paragraph: Diarmait Mac Murchada (Dermot MacMurrough), the deposed King of Leinster who had been exiled by the High King of Ireland, sought Cambro-Norman assistance to regain his throne. Lord Lanstephan participated in the resulting 1169 Norman invasion of Ireland. He assisted his younger half-brother Robert Fitz-Stephen in the Siege of Wexford (1169). His nephew Raymond was Strongbow's second-in-command and had the chief share both in the capture of Waterford and in the successful assault on Dublin in 1171. Lord Lanstephan and his son's the Fitzmaurices also fought in this battle.

paragraph: Section::::Marriage and issue.

paragraph: Maurice FitzGerald (Lord Llanstephan) is sometimes said to have married Alice, a supposed daughter of Arnulf de Montgomery. There is no evidence that Arnulf left any descendants, however, and the claim that a daughter of his married FitzGerald dates no earlier than the 19th century. Maurice FitzGerald's children were:

paragraph: Lord Llanstephan's second eldest son, Sir Gerald Fitzmaurice (the 1st Lord of Offaly) was the progenitor of the FitzGerald Earls of Kildare and Dukes of Leinster.

paragraph: The original Earldom of Desmond in the province of Munster was based on landholdings belonging to the descendants of Maurice's eldest son Thomas FitzMaurice, Lord OConnello. Thomas's son John Fitzmaurice FitzThomas, who was killed in the Battle of Callann, became the first Baron Desmond. Others from this line include the Knights of Glin and Knights of Kerry.

paragraph: Section::::Ancestry.

paragraph: Maurice FitzGerald was the second son of Gerald Fitzwalter known as Gerald de Windsor, Constable of Pembroke Castle by his wife, Nest ferch Rhys, Princess of Deheubarth and a member of the Welsh royal House of Dinefwr.

paragraph: Section::::Citations.

paragraph: BULLET::::- .

paragraph: BULLET::::- .

description: Anglo-Norman noble

wikidata_label: Maurice FitzGerald, Lord of Lanstephan

wikipedia_title: Maurice FitzGerald, Lord of Lanstephan


text: Edward III

text: William Montagu, 2nd Baron Montagu

text: Prince Edward

text: Edward II

text: Roger Mortimer

text: Scottish Wars

text: Isle of Man

text: marks

text: Continent

text: Hundred Years' War

text: tournament

text: Catherine

text: Cassington

text: William Montagu, 2nd Baron Montagu

text: Elizabeth de Montfort

text: Beaudesert, Warwickshire

text: West Country

text: Conquest

text: Somerset

text: Devon

text: Scottish Wars

text: Edward I

text: Edward II's

text: Thomas of Lancaster

text: Aquitaine

text: seneschal

text: ward

text: Edward II

text: Edward III

text: Scottish

text: knight banneret

text: Philip VI of France

text: Avignon

text: Isabella

text: Roger Mortimer

text: Pope John XXII

text: Richard Bury

text: Keeper of the Privy Seal

text: Nottingham Castle

text: William de Bohun

text: Robert Ufford

text: lordship of Denbigh

text: Simon Montacute

text: Bishop of Worcester

text: Ely

text: Edward Montagu, 1st Baron Montagu

text: Alice of Norfolk

text: tournament

text: Cheapside

text: Scottish Wars

text: Siege of Berwick

text: Battle of Halidon Hill

text: Isle of Man

text: men-at-arms

text: Lowlands

text: Peeblesshire

text: wardship

text: Roger

text: marks

text: Dunbar

text: Earl of Salisbury

text: comital

text: Hundred Years' War

text: stannaries

text: tournament

text: Valenciennes

text: Flanders

text: Marshal of England

text: Thomas of Brotherton, Earl of Norfolk

text: Margaret

text: Earl of Derby

text: Lille

text: Philip VI of France

text: Robert Ufford, Earl of Suffolk

text: John of Bohemia

text: Chancellor

text: John Stratford

text: Robert of Artois

text: Breton War of Succession

text: Truce of Malestroit

text: Henry of Grosmont, Earl of Derby

text: Castile

text: Windsor

text: Adam Murimuth

text: Bisham Priory

text: executor

text: Catherine

text: Order of the Garter

text: franchises

text: return of writs

text: sheriff

text: William Montagu, 2nd Earl of Salisbury

text: Order of the Garter

text: Guy de Brian, 4th Baron Brian

text: John de Montacute, 1st Baron Montacute

text: John Montacute, 3rd Earl of Salisbury

text: Roger Mortimer, 2nd Earl of March

text: Richard FitzAlan, 10th Earl of Arundel

text: Roger Grey, 1st Baron Grey de Ruthyn

text: Helias Daubeney, 1st Baron Daubeney

text: Les Rois maudits

text: Maurice Druon

text: French miniseries adaptation

text: Inquisition Post Mortem

categories: 1301 births,1344 deaths,People of the Hundred Years' War,Earls of Salisbury (1337),People from Bisham,Monarchs of the Isle of Man,People from West Oxfordshire District,Male Shakespearean characters,Knights banneret of England,People of the Wars of Scottish Independence,De Montagu family

paragraph: William Montagu, 1st Earl of Salisbury

paragraph: William Montagu, alias de Montacute, 1st Earl of Salisbury, 3rd Baron Montagu, King of Mann (1301 – 30 January 1344) was an English nobleman and loyal servant of King Edward III.

paragraph: The son of William Montagu, 2nd Baron Montagu, he entered the royal household at an early age and became a close companion of the young Prince Edward. The relationship continued after Edward was crowned king following the deposition of Edward II in 1327. In 1330, Montagu was one of Edward's main accomplices in the coup against Roger Mortimer, who until then had been acting as the king's protector.

paragraph: In the following years Montagu served the king in various capacities, primarily in the Scottish Wars. He was richly rewarded, and among other things received the lordship of the Isle of Man. In 1337, he was created Earl of Salisbury, and given an annual income of 1000 marks to go with the title. He served on the Continent in the early years of the Hundred Years' War, but in 1340 he was captured by the French, and in return for his freedom had to promise never to fight in France again. Salisbury died of wounds suffered at a tournament early in 1344.

paragraph: Legend has it that Montagu's wife Catherine was raped by Edward III, but this story is almost certainly French propaganda. William and Catherine had six children, most of whom married into the nobility. Modern historians have called William Montague Edward's "most intimate personal friend" and "the chief influence behind the throne from Mortimer's downfall in 1330 until his own death in 1344."

paragraph: Section::::Family background.

paragraph: William Montagu, born at Cassington, Oxfordshire in 1301, was the second but eldest surviving son of William Montagu, 2nd Baron Montagu, and Elizabeth de Montfort, daughter of Sir Peter Montfort of Beaudesert, Warwickshire. by Matilda/Maud de la Mare daughter and heiress of Henry de la Mare of Ashtead, Surrey, Royal Justice, Seneschal of William Longspree II Earl of Salisbury. The Montagu family, a West Country family with roots going back to the Conquest, held extensive lands in Somerset, Dorset and Devon. The father, William Montagu, distinguished himself in the Scottish Wars during the reign of Edward I, and served as steward of Edward II's household. Some members of the nobility, including Thomas of Lancaster, viewed Montagu with suspicion, as a member of a court party with undue influence on the king. For this reason he was sent to Aquitaine, to serve as seneschal. Here he died on 18 October 1319. Even though he sat in parliament as a baron, the second lord Montagu never rose above a level of purely regional importance.

paragraph: Section::::Early service.

paragraph: The younger William was still a minor at the time of his father's death, and entered the royal household as a ward of the king in 1320. On 21 February 1323 he was granted his father's lands and title. His service to Edward II took him abroad to the Continent in both 1320 and 1325. In 1326 he was knighted. After the deposition of Edward II in 1327, Montagu continued in the service of Edward's son Edward III. He helped the new king in repelling the Scottish invasion of 1327, and was created knight banneret in 1328.

paragraph: Montagu enjoyed a close relationship with Edward III, and accompanied him abroad on a diplomatic mission in 1329. That same year he was sent on an embassy to negotiate a marriage alliance with King Philip VI of France. His most important task, however, came in connection with a mission to the Papacy in Avignon. The young king—along with his government—was under the dominance of his mother Isabella and her lover Roger Mortimer, who had been responsible for the deposition of the king's father. Montagu explained the king's situation, and Pope John XXII asked for a special signal that assure him that he was dealing with the king in person. After Montagu's return, Richard Bury, Keeper of the Privy Seal, wrote to inform the pope that only letters containing the words "pater sancte" (holy father), in Edward's own handwriting, were indeed from the king. Only Edward, Bury and Montagu were party to the scheme.

paragraph: Section::::Coup against Mortimer.

paragraph: When Mortimer discovered the conspiracy against him, Montagu was brought in for interrogationalong with the kingbut gave nothing away. Afterward he supposedly advised Edward to move against his protector, because "It was better that they should eat the dog than that the dog should eat them". On 19 October 1330, while Mortimer and Isabella were entrenched in Nottingham Castle, the constable of the castle showed Montagu a secret entrance through an underground tunnel. Along with William de Bohun, Robert Ufford, and John Neville and others, he entered the castle, where he met up with the king. A short brawl followed before Mortimer was captured. The queen stormed into the chamber shouting "Good son, have pity on noble Mortimer". Edward did not obey his mother's wishes, and a few weeks later Mortimer was executed for treason in London. As a reward for his part in the "coup," Montagu was given lands worth £1000, including the Welsh lordship of Denbigh that had belonged to Mortimer. His family also benefited; his brother Simon Montacute became Bishop of Worcester and later of Ely. Another brother, Edward Montagu, 1st Baron Montagu, married Alice of Norfolk, a co-heir of Thomas of Brotherton, 1st Earl of Norfolk.

paragraph: Section::::Service under Edward III.

paragraph: In the years to come, Montagu acted as Edward's closest companion. In April 1331, the two went on a secret expedition to France, disguised as merchants so they would not be recognised. In September of the same year, Montagu held a tournament at Cheapside, where he and the king were costumed as Tartars. From 1333 onwards, Montagu was deeply engaged in the Scottish Wars, and distinguished himself at the Siege of Berwick and the Battle of Halidon Hill. It was after this event that his lordship over the Isle of Man was recognised, a right he held from his grandfather. The lordship was at the moment of a purely theoretical nature, however, since the island was still under Scottish control.

paragraph: In February 1334 Montagu was sent on a commission to Edinburgh, to demand Edward Balliol's homage to Edward. In the great summer campaign of 1335, it was Montagu who provided the largest English contingent, with 180 men-at-arms and 136 archers. He was well rewarded for his contributions: after the Scots had been forced to cede the Lowlands, Montagu was granted the county of Peeblesshire. He was also allowed to buy the wardship of Roger Mortimer's son Roger for 1000 marks, a deal that turned out to be very lucrative for Montagu. At this point, however, the fortunes were turning for the English in Scotland. Montagu campaigned in the north again in 1337, but the siege of Dunbar met with failure. Following the abortive attempt in Scotland, Edward III turned his attention to the continent.

paragraph: Section::::The Hundred Years' War.

paragraph: Montagu was created Earl of Salisbury on 16 March 1337. This was one of six comital promotions Edward III made that day, in preparation for what was to become the Hundred Years' War. To allow Montagu to support his new status, the king granted him land and rent of a value of 1000 marks a year. The money was provided from the royal stannaries of Cornwall. A contemporary poem tells of a vow made by the earl on the eve of the warshe would not open one of his eyes while fighting in France. The story is probably a satire; the truth was that Montagu had already lost the use of one of his eyes in a tournament.

paragraph: In April 1337, Montagu was appointed to a diplomatic commission to Valenciennes, to establish alliances with Flanders and the German princes. In July 1338, he accompanied the king on another mission to the continent, again providing the greatest number of soldiers, with 123 men-at-arms and 50 archers. In September of that year he was made Marshal of England. After the death of Thomas of Brotherton, Earl of Norfolk, this office had come into the hands of Norfolk's daughter Margaret. The king did not trust the office with her husband, so he decided instead to bestow it on his trusted companion, Montagu. Edward's policy of building alliances put him in great debt, and when he left the Low Countries to return to England late in 1338, Salisbury had to stay behind as surety to the king's debtors, along with the king's family and the Earl of Derby. The earl had earlier voiced concerns about the costly alliances, but he nevertheless remained loyal to the king's strategy.

paragraph: While Edward was away, Salisbury was captured by the French at Lille in April 1340, and imprisoned in Paris. Reportedly, King Philip VI of France wanted to execute Salisbury and Robert Ufford, Earl of Suffolk, who was captured with him. Philip was, however, dissuaded by John of Bohemia, who argued that the earls could come in handy in an exchange, should any French noblemen be captured. Though released on parole in September, it was not until May 1342 that he reached a final settlement with the French. Salisbury was freed in a prisoner exchange, but only on the condition that he never fight in France again.

paragraph: Section::::Final years.

paragraph: Salisbury had long been frustrated by the failure of the government in England to provide sufficient funds for the war effort. On his return, however, he played little part in the conflict of 1341 between King Edward and Chancellor John Stratford. In May that year he was appointed to a committee to hear the king's charges against Stratford, but little came from this. In 1342–43 he fought with Robert of Artois in the Breton War of Succession, and in 1343 helped negotiate the Truce of Malestroit. It was probably sometime after this he made good his claim on the Isle of Man, by conquering the island which was until then held by the Scots.

paragraph: His final international commission took place late in 1343, when he accompanied Henry of Grosmont, Earl of Derby, on a diplomatic mission to Castile. Early in 1344 he was back in England, where he took part in a great tournament at Windsor. It was during this tournament, according to the chronicler Adam Murimuth, that he received wounds that would prove fatal. Salisbury died on 30 January 1344. He was buried at Bisham Priory in Berkshire, adjoining his home, Bisham Manor. He had founded the priory himself in 1337, on his elevation to the earldom. King Edward's financial obligations were never paid in full during the earl's lifetime, and at Salisbury' death the king owed him £11,720. Of this, some £6374 were written off by his executors in 1346.

paragraph: Section::::Family.

paragraph: In or before 1327 Salisbury married Catherine, daughter of William de Grandison, 1st Baron Grandison. Two anecdotal stories revolve around Catherine Montagu; in one she is identified as the "Countess of Salisbury" from whose dropped garter Edward III named the Order of the Garter. In the other, Edward III falls in love with the countess, and arranges to be alone with her so he can rape her. Neither story is supported by contemporary evidence, and the latter almost certainly is a product of French propaganda.

paragraph: William and Catherine had six children, most of whom made highly fortunate matches with other members of the nobility. The first Earl of Salisbury made enormous additions to the family fortune; at the time of his father's death, the lands had been valued at just over £300. In 1344, only the annual income of the lands has been estimated to more than £2,300, equivalent to about £ in present-day terms. Edward was also free with granting franchises to Salisbury, including the return of writs, which gave the earl authority in his lands normally held by the royally appointed sheriff. Salisbury's oldest son William succeeded his father in July 1349, while still a minor, as William Montagu, 2nd Earl of Salisbury. The younger William was one of the founding members of the Order of the Garter, but he never enjoyed the same favour with the king as his father had.

paragraph: The children of William and Catherine were as follows:

paragraph: BULLET::::- Elizabeth Montagu, died 1359, married first, Hugh le Despencer, Baron le Despencer (1338) before 27 April 1341, married second Guy de Brian, 4th Baron Brian, after 1349.

paragraph: BULLET::::- William Montacute, 2nd Earl of Salisbury, born 1328, died 1397, succeeded his father 11 June 1349.

paragraph: BULLET::::- John de Montacute, 1st Baron Montacute, born 1330, died 1390, father of John Montacute, 3rd Earl of Salisbury.

paragraph: BULLET::::- Philippa Montagu, born 1332, died 1381, married Roger Mortimer, 2nd Earl of March.

paragraph: BULLET::::- Sibyl Montagu, married Edmund FitzAlan, the disinherited son of Richard FitzAlan, 10th Earl of Arundel.

paragraph: BULLET::::- Agnes Montagu, contracted to marry John, eldest son of Roger Grey, 1st Baron Grey de Ruthyn.

paragraph: BULLET::::- Alice Montagu, married Ralph Daubeney, son of Helias Daubeney, 1st Baron Daubeney.

paragraph: Section::::In fiction.

paragraph: Salisbury is a character in "Les Rois maudits" ("The Accursed Kings"), a series of French historical novels by Maurice Druon. He was portrayed by in the 1972 French miniseries adaptation of the series.

paragraph: Section::::External links.

paragraph: BULLET::::- Inquisition Post Mortem #532, dated 1344.

paragraph: Section::::External links.

paragraph: BULLET::::- 'Elizabeth De Montacute née Montfort', History of Henley Series. Retrieved 22 October 2013

alias:
William de Montacute
3rd Baron Montagu, King of Mann

description: English nobleman

wikidata_label: William Montagu, 1st Earl of Salisbury

wikipedia_title: William Montagu, 1st Earl of Salisbury


text:
Major League Baseball
outfield
Brown University

categories: Columbus Senators players,1890 births,Boston Braves players,Providence Grays (minor league) players,Brooklyn Robins players,New Haven Profs players,Minor league baseball managers,Baseball players from Massachusetts,Worcester Panthers players,Pittsburgh Pirates players,People from Blackstone, Massachusetts,1969 deaths,Major League Baseball pitchers,New Haven Indians players,Brown Bears baseball coaches,Major League Baseball outfielders,Providence Rubes players,Toronto Maple Leafs (International League) players

paragraph: Eddie Eayrs

paragraph: Edwin Eayrs (November 10, 1890 – November 30, 1969) was an American Major League Baseball player who played outfield from 1913 to 1921. He attended Brown University and also pitched during his career.

description: Baseball player and coach

wikidata_label: Eddie Eayrs

wikipedia_title: Eddie Eayrs


text:
India
basketball
Arjuna Award
Asian Basketball Championships
1980 Summer Olympics
Moscow
Kota
Rajasthan
Indian Railways
Radhey Shyam

categories: Basketball players from Haryana,Recipients of the Arjuna Award,Indian men's basketball players,Basketball players at the 1980 Summer Olympics,Olympic basketball players of India,1953 births,Living people

paragraph: Ajmer Singh (basketball)

paragraph: Ajmer Singh (born 1953) is an Indian basketball player who was awarded the country's highest sporting honor, the Arjuna Award, in 1982. He represented the country in the Asian Basketball Championships and in the 1980 Summer Olympics in Moscow.

paragraph: According to "The Hindu", Singh was "a rough and tough player and his sole aim was to score as many baskets as possible. A dedicated man, he was remarkable for his appetite for baskets. As a result, he emerged as one of the top 10 shooters in the 1980 Moscow Olympics."

paragraph: Section::::Sporting career.

paragraph: Singh moved to Kota, which had a tradition in basketball. He played for the Rajasthan team and later moved to the Indian Railways team. The high point of his career was the Moscow Olympics where his performance was rated highly. His average per game at the 1980 Olympics was 21 points, with the next best scorer from the Indian team, Radhey Shyam, averaging 14 points. Singh scored nearly a third of India's points in the competition.

description: indian basketball player

wikidata_label: Ajmer Singh

wikipedia_title: Ajmer Singh (basketball)


text:
bass
Rossini
Bresle
Somme
Pierre-Jean Garat
Paris Opéra
André Grétry
King's Theatre
Mozart
Le nozze di Figaro
La Scala
Meyerbeer
Margherita d'Anjou
Théâtre-Italien
Mosè in Egitto
Ricciardo e Zoraide
La cenerentola
La donna del lago
Il viaggio a Reims
basso cantante
Le comte Ory
Guillaume Tell
Robert le diable
La juive
Les Huguenots
La favorite
Dom Sebastien
Le prophète
Fayard

categories: French opera singers,1791 births,French basses,Operatic basses,Burials at Montmartre Cemetery,Conservatoire de Paris alumni,19th-century male singers,French male singers,1871 deaths,People from Somme (department),Chevaliers of the Légion d'honneur,Academics of the Conservatoire de Paris,19th-century French singers

paragraph: Nicolas Levasseur

paragraph: Nicolas Levasseur (9 March 1791 – 7 December 1871) was a French bass, particularly associated with Rossini roles.

paragraph: Born Nicolas-Prosper Levasseur at Bresle, Somme, he studied at the Paris Music Conservatory from 1807 to 1811, with Pierre-Jean Garat. He made his professional debut at the Paris Opéra in 1813, as Osman Pacha, in "La caravane du Caire" by André Grétry. He sang in London at the King's Theatre from 1815 to 1817, notably as the Count in Mozart's "Le nozze di Figaro". He also sang at La Scala in Milan, from 1820 to 1822, where he took part in the creation of Meyerbeer's "Margherita d'Anjou".

paragraph: But his greatest successes were at the Théâtre-Italien in Paris, where he sang from 1819 until 1828. There his name became closely associated with Rossini's operas. He sang in the Paris premieres of

paragraph: "Mosè in Egitto", "Ricciardo e Zoraide", "La cenerentola", "La donna del lago", and he participated in the

paragraph: creation of "Il viaggio a Reims".

paragraph: Levasseur returned to the Paris Opéra in 1827 and remained there until 1853, where he created all the great basso cantante roles, notably in operas such as; "Le comte Ory", "Guillaume Tell", "Robert le diable", "La juive", "Les Huguenots", "La favorite", "Dom Sebastien", "Le prophète", etc.

paragraph: Levasseur was considered peerless in his time, possessing a voice of remarkable beauty and grandeur. He taught at the Paris Conservatory from 1841 until 1870. He died in Paris.

paragraph: Section::::Sources.

paragraph: BULLET::::- "Guide de l’opéra", Les indispensables de la musique, R. Mancini & J-J. Rouvereux (Fayard, 1995).

description: French opera singer

wikidata_label: Nicolas Levasseur

wikipedia_title: Nicolas Levasseur


text: Moldavia

text: rabbi

text: United Synagogue of America

text: Jewish Theological Seminary of America

text: Conservative Judaism

text: Focşani

text: Moldavia

text: Romania

text: shochet

text: Chabad

text: hasidim

text: Shneur Zalman of Liadi

text: Hebrew

text: Chumash

text: yeshiva

text: Piatra Neamţ

text: Talmud

text: Joseph Saul Nathanson

text: Lemberg

text: Vienna

text: Meir Friedmann

text: Berlin Hochschule

text: Wissenschaft des Judentums

text: University of Berlin

text: Britain

text: tutor

text: rabbinics

text: Claude Montefiore

text: London

text: Solomon Marcus Schiller-Szinessy

text: Cambridge University

text: Talmud

text: Cairo Geniza

text: Egypt

text: Jacob Saphir

text: Midrash ha-Gadol

text: Mrs. Lewis and Mrs. Gibson

text: Sirach

text: Greek

text: Latin

text: The Athenaeum

text: The Academy

text: Archibald Sayce

text: Hermann Adler

text: Cambridge University Library

text: Taylor-Schechter Collection

text: David Margoliouth

text: Sirach

text: genizah

text: University College London

text: United States

text: Israel Abrahams

text: Reform Judaism

text: Jewish Theological Seminary of America

text: Jewish law

text: Halacha

text: Zionism

text: Hebrew Bible

text: Conservative

text: Jewish day school

text: Solomon Schechter Day Schools

text: Biography at the Jewish Virtual Library

text: Louis Jacobs

text: AHRC Rylands Cairo Genizah Project

text: Solomon Schechter School of Queens

text: Solomon Schechter School of Westchester

categories: 1847 births,Jewish Egyptian history,Jewish Theological Seminary of America people,Kohanim writers of Rabbinic literature,Academics of University College London,19th-century rabbis,Jews from the Principality of Moldavia,American Conservative rabbis,American Zionists,1915 deaths,American people of Romanian-Jewish descent,Academics of the University of Cambridge,20th-century rabbis

paragraph: Solomon Schechter

paragraph: Solomon Schechter (; 7 December 1847 – 19 November 1915) was a Moldavian-born American rabbi, academic scholar and educator, most famous for his roles as founder and President of the United Synagogue of America, President of the Jewish Theological Seminary of America, and architect of American Conservative Judaism.

paragraph: Section::::Early life.

paragraph: He was born in Focşani, Moldavia (now Romania) to Rabbi Yitzchok Hakohen, a shochet and member of Chabad hasidim. He was named after its founder, Shneur Zalman of Liadi. Schechter received his early education from his father who was a "shochet" ("ritual slaughterer"). Reportedly, he learned to read Hebrew by age 3, and by 5 mastered Chumash. He went to a yeshiva in Piatra Neamţ at age 10 and at age thirteen studied with one of the major Talmudic scholars, Rabbi Joseph Saul Nathanson of Lemberg. In his 20s, he went to the Rabbinical College in Vienna, where he studied under the more modern Talmudic scholar Meir Friedmann, before moving on in 1879 to undertake further studies at the "Berlin Hochschule für die Wissenschaft des Judentums" and at the University of Berlin. In 1882, he was invited to Britain, to be tutor of rabbinics under Claude Montefiore in London.

paragraph: Section::::Academic career.

paragraph: In 1890, after the death of Solomon Marcus Schiller-Szinessy, he was appointed to the faculty at Cambridge University, serving as a lecturer in Talmudics and reader in Rabbinics. To this day, the students of the Cambridge University Jewish Society hold an annual Solomon Schechter Memorial Lecture.

paragraph: His greatest academic fame came from his excavation in 1896 of the papers of the Cairo Geniza, an extraordinary collection of over 100,000 pages (around 300,000 documents) of rare Hebrew religious manuscripts and medieval Jewish texts that were preserved at an Egyptian synagogue. The find revolutionized the study of Medieval Judaism.

paragraph: Jacob Saphir was the first Jewish researcher to recognize the significance of the Cairo Geniza, as well as the first to publicize the existence of the Midrash ha-Gadol. Schechter was alerted to the existence of the Geniza's papers in May 1896 by two Scottish sisters, Mrs. Lewis and Mrs. Gibson, who showed him some leaves from the Geniza that contained the Hebrew text of Sirach, which had for centuries only been known in Greek and Latin translation. Letters, written at Schechter's prompting, by Agnes Smith to "The Athenaeum" and "The Academy" quickly revealed the existence of another nine leaves of the same manuscript in the possession of Archibald Sayce at Oxford University. Schechter quickly found support for another expedition to the Cairo Geniza, and arrived there in December 1896 with an introduction from the Chief Rabbi, Hermann Adler, to the Chief Rabbi of Cairo, Aaron Raphael Ben Shim'on. He carefully selected for the Cambridge University Library a trove three times the size of any other collection: this is now part of the Taylor-Schechter Collection. The find was instrumental in Schechter resolving a dispute with David Margoliouth as to the likely Hebrew language origins of Sirach.

paragraph: Charles Taylor took a great interest in Solomon Schechter's work in Cairo, and the "genizah" fragments presented to the University of Cambridge are known as the Taylor-Schechter Collection. He was joint editor with Schechter of "The Wisdom of Ben Sira", 1899. He published separately "Cairo Genizah Palimpsests", 1900.

paragraph: He became a Professor of Hebrew at University College London in 1899 and remained until 1902 when he moved to the United States and was replaced by Israel Abrahams.

paragraph: Section::::American Jewish community.

paragraph: In 1902, traditional Jews reacting against the progress of the American Reform Judaism movement, which was trying to establish an authoritative "synod" of American rabbis, recruited Schechter to become President of the Jewish Theological Seminary of America (JTSA).

paragraph: Schechter served as the second President of the JTSA, from 1902 to 1915, during which time he founded the United Synagogue of America, later renamed as the United Synagogue of Conservative Judaism.

paragraph: Section::::Religious and cultural beliefs.

paragraph: Schechter emphasized the centrality of Jewish law (Halakha) in Jewish life in a speech in his inaugural address as President of the JTSA in 1902:

paragraph: Schechter, on the other hand, believed in what he termed "Catholic Israel." The basic idea being that Jewish law, Halacha, is formed and evolves based on the behavior of the people. This concept of modifying the law based on national consensus is an untraditional viewpoint.

paragraph: Schechter was an early advocate of Zionism. He was the chairman of the committee that edited the Jewish Publication Society of America Version of the Hebrew Bible.

paragraph: Section::::Legacy.

paragraph: Schechter's name is synonymous with the findings of the Cairo Geniza. He placed the JTSA on an institutional footing strong enough to endure for over a century. He became identified as the foremost personality of Conservative Judaism and is regarded as its founder. A network of Conservative Jewish day schools is named in his honor, as well as a summer camp in Olympia, Washington. There are several dozen Solomon Schechter Day Schools across the United States and Canada.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Schechter, Solomon (1896) "Studies in Judaism". 3 vols. London: A. & C. Black, 1896-1924 (Ser. III published by The Jewish Publication Society of America, Philadelphia PA)

paragraph: BULLET::::- Schechter, Solomon (1909) "Some Aspects of Rabbinic Theology" London: A. and C. Black (Reissued by Schocken Books, New York, 1961; again by Jewish Lights, Woodstock, Vt., 1993: including the original preface of 1909 & the introduction by Loius Finkelstein; new introduction by Neil Gilman [i.e. Gillman])

paragraph: Section::::External links.

paragraph: BULLET::::- Solomon Schechter, from Neil Gillman's book on Conservative Judaism

paragraph: BULLET::::- Biography at the Jewish Virtual Library

paragraph: BULLET::::- Louis Jacobs, From Cairo to Catholic Israel: Solomon Schechter, in "The Jewish Religion: a Companion", OUP, 1995

paragraph: BULLET::::- Solomon Schechter Collection at the Jewish Theological Seminary of America

paragraph: BULLET::::- Solomon Schechter School of Greater Boston

paragraph: BULLET::::- AHRC Rylands Cairo Genizah Project

paragraph: BULLET::::- Solomon Schechter School of Queens

paragraph: BULLET::::- Solomon Schechter School of Westchester

description: Moldavian-born Romanian rabbi

wikidata_label: Solomon Schechter

wikipedia_title: Solomon Schechter


text:
Byzantine
chronicler
Manuel I Komnenos
Nikephoros Botaneiates
political verse
Slavic
Macarius Chrysocephalus
Oppian

categories: 1180s deaths,12th-century births,Byzantine writers,Byzantine chroniclers,12th-century Byzantine people,12th-century historians

paragraph: Constantine Manasses

paragraph: Constantine Manasses (; c. 1130 - c. 1187) was a Byzantine chronicler who flourished in the 12th century during the reign of Manuel I Komnenos (1143-1180). He was the author of a chronicle or historical synopsis of events from the creation of the world to the end of the reign of Nikephoros Botaneiates (1081), sponsored by Irene Komnene, the emperor's sister-in-law. It consists of about 7000 lines in political verse. It obtained great popularity and appeared in a free prose translation; it was also translated into Bulgarian and Roman Slavic in the 14th century.

paragraph: Chronicle edition: Bekker, Bonn 1837; the Bulgarian translation, "Cronica lui Constantin Manasses", by Ioan Bogdan and I. Bianu, Bucharest, 1922.

paragraph: In 1969 Bulgaria issued two sets of stamps depicting important scenes of the chronicle, to celebrate it.

paragraph: Manasses also wrote the poetical romance "Loves of Aristander and Callithea", also in political verse. It is only known from the fragments preserved in the rose-garden of Macarius Chrysocephalus (14th century). Manasses also wrote a short biography of Oppian, and some descriptive pieces (all except one unpublished) on artistic and other subjects.

paragraph: Section::::References.

paragraph: BULLET::::- Attribution:

description: Byzantine writer

wikidata_label: Constantine Manasses

wikipedia_title: Constantine Manasses


text: Paris

text: surgeon

text: Jardin du Roi

text: Hôpital de la Charité

text: Régiment des Gardes françaises

text: Hôtel des Invalides

text: Académie de chirurgie

text: Académie Royale des Sciences

text: St. Thomas's Hospital

text: London

text: William Cheselden

text: stone cut

text: lithotomy

text: bladder

text: Fellow of the Royal Society

text: cleidocranial dysostosis

text: Georges Maréchal

text: Louis XIV

text: Louis XV

text: anatomy

text: obstetrics

text: calcarine sulcus

text: Haller

text: cleidocranial dysostosis

categories: French surgeons,Scientists from Paris,Contributors to the Encyclopédie (1751–72),Members of the French Academy of Sciences,French urologists,1697 births,1773 deaths

paragraph: Sauveur François Morand

paragraph: Sauveur François Morand (2 April 1697, Paris – 21 July 1773) was a French surgeon.

paragraph: Section::::Biography.

paragraph: In 1724 he became a demonstrator of surgery at the Jardin du Roi in Paris, followed by service as "censeur royal" and a surgeon at the Hôpital de la Charité (from 1730). He was later appointed surgeon-major of the "Régiment des Gardes françaises" (1739) and chief-surgeon at the Hôtel des Invalides.

paragraph: He was a founding member of the Académie de chirurgie (1731), and a member of numerous learned societies in Europe. In 1725 he was elected as a member of the Académie Royale des Sciences.

paragraph: In 1729, while visiting St. Thomas's Hospital in London, he had the opportunity to learn William Cheselden's new procedure for stone cut, the lateral perineal lithotomy, a procedure that involved filling the bladder with water. Whilst in England he was elected a Fellow of the Royal Society.

paragraph: In a 1766 treatise titled, ""Sur un enfant auquel il manquoit les deux clavicules"", etc., he was the first physician to describe cleidocranial dysostosis.

paragraph: Section::::Family.

paragraph: He was son of Jean Morand (1659-1726), who served as chief surgeon at the Hôtel des Invalides, and the son-in-law of Georges Maréchal, first surgeon to Louis XIV and then to Louis XV. His son, Jean François-Clément Morand (1726-1784) taught classes in anatomy and obstetrics.

paragraph: Section::::Associated eponym.

paragraph: BULLET::::- "Morand's spur": The lower of two elevations on the medial wall of the posterior horn of the lateral ventricle of the brain. It is caused by lateral extension of the calcarine sulcus. Sometimes referred to as "Haller's unguis".

paragraph: Section::::Selected published works.

paragraph: BULLET::::- "Traité de la taille au haut appareil", 1728.

paragraph: BULLET::::- "A dissertation on the high operation for the stone", published in English, 1729.

paragraph: BULLET::::- "Discours pour prouver qu’il est nécessaire à un chirurgien d’être lettré", 1743.

paragraph: BULLET::::- "Receuil d'expériences et d'observations sur la pierre"; (with François Brémond), two volumes, 1743.

paragraph: BULLET::::- "Sur un enfant auquel il manquoit les deux clavicules, le sternum et les cartilages, qui dans l'état naturel l'attachent aux côtes". Histoire de l'Académie Royale des sciences, Paris, (1760), 1766: 47-48. (Contains first description of cleidocranial dysostosis.

paragraph: BULLET::::- "Opuscules de chirurgie", two volumes, 1768 and 1772.

description: French surgeon

wikidata_label: Sauveur François Morand

wikipedia_title: Sauveur François Morand


text:
stage name
American
rapper
songwriter
record producer
Kingston, New York
Kanye West
All Day
Gold-certified
Grammy
Best Rap Song
Kingston, New York
Kanye West
Through the Wire
Fabolous
Vinylz
The Young OG Project
French Montana
Coke Boys Records
Village Voice
Kanye West
Soundcloud
Spotify
Twitter
Instagram
Facebook

categories: Singers from New York (state),African-American record producers,21st-century American singers,American hip hop record producers,Rappers from New York (state),1991 births,Living people

paragraph: Velous

paragraph: Tyler Bryant, better known as his stage name Velous, is an American rapper, singer, songwriter, and record producer from Kingston, New York. He is mostly known for featuring on the song "Adult Swim" by DJ Spinking, and co-producing Kanye West's hit single "All Day", which was Gold-certified in the US and subsequently procured a Grammy nomination for Best Rap Song. In 2016, Velous wrote and produced "Flipmode." In 2017, "Flipmode" became a single on Fabolous' Summertime Shootout 3 and served as Velous' debut feature. “When I heard the track it was a dope vibe, so I knew I wanted to become a part of the song. Once I laid my verses I got Chris to add his touch while we were on tour together and the rest is history,” said Fabolous.

paragraph: Section::::Early life.

paragraph: Tyler Bryant was born in Kingston, New York. His father, deceased, was a musician. His mother was a singer. When he was eleven, he began rapping after listening to Kanye West's "Through the Wire". He learned how to play the drums, then piano, and started playing the guitar when he was twelve years old. He started getting into production when he was thirteen. He was also in a jazz ensemble in high school.

paragraph: Section::::Career.

paragraph: Velous came up with his name after someone told him how marvelous his production skills were; the name is "marvelous" minus the "mar". In 2011, he released his debut mixtape, "Velocity The Mixtape". The release helped Velous gain attention from Cus Maven, who signed him to Swanky Music Group. Velous met Fabolous through fellow producer Vinylz, who Velous had frequently worked with during the past year. Vinylz and Velous went to Fabolous' studio to check out what he was doing. Velous ended up playing some of his music, which Fabolous liked.The two ended up recording the song "Gone For The Winter" for Fab's album "The Young OG Project" in 2014.

paragraph: In 2014, French Montana signed him to his label, Coke Boys Records. Montana spoke about Velous in an interview with the "Village Voice": "I love his style. He sings. He raps. He's everything in one." He revealed that Velous also impressed Kanye West. "He came to the studio and played me like 1,000 songs", he said, before adding that Kanye West picked "like two beats" from Velous.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Writing.

paragraph: List of singles written by Velous, showing year released, performing artists and album name

paragraph: Section::::External links.

paragraph: BULLET::::- Velous on Soundcloud

paragraph: BULLET::::- Velous on Spotify

paragraph: BULLET::::- Velous on Twitter

paragraph: BULLET::::- Velous on Instagram

paragraph: BULLET::::- Velous on Facebook

description: Rapper, singer, record producer

wikidata_label: Velous

wikipedia_title: Velous


text: Saint-Valery-sur-Somme

text: Paris

text: prostitute

text: Jean Agélou

text: Amedeo Modigliani

text: Chaim Soutine

text: Tsuguharu Foujita

text: Café de la Rotonde

text: Montparnasse

text: Jeanne Hébuterne

text: erotic postcards

text: Salon d'Automne

text: Jean Agélou

categories: 1974 deaths,People from Saint-Valery-sur-Somme,French women painters,French prostitutes,1893 births,French artists' models,20th-century French painters

paragraph: Fernande Barrey

paragraph: Fernande Barrey (January 9, 1893 in Saint-Valery-sur-Somme – July 14, 1960 in Paris) was a French artist model and painter.

paragraph: Section::::Biography.

paragraph: Fernande Barrey left her native Picardy in about 1908 and moved to Paris, where she began to make a living as a prostitute. She then became the model for many painters, including Jean Agélou, Amedeo Modigliani and Chaim Soutine, who persuaded her to study painting and art history at the École nationale supérieure des Beaux-Arts.

paragraph: In March 1917, she met the Japanese artist Tsuguharu Foujita at the Café de la Rotonde in Montparnasse, who fell madly in love with her and married her thirteen days later. In 1918 the couple moved to escape the German bombs to Cagnes-sur-Mer, where she spent a year painting and meeting many friends. During this period, she became friends with Jeanne Hébuterne, the bride of Modigliani. When Modigliani died of tuberculosis in 1920, Barrey tried in vain to console the new widow, but Jeanne, eight months pregnant, committed suicide.

paragraph: During the year 1925, the couple led a very open relationship, both having relations with people of both sexes. The painter did not forgive Fernande after she had a love affair with his cousin, Koyanagi, a painter. He then locked himself with the Belgian artist Lucie Badoul (called Youki) for three days during which Fernande desperately sought her husband in the Parisian morgues. In 1928, the couple divorced and she lived with Koyanagi in Montmartre. When Koyanagi was separated himself in 1935, his relationship with Tsugouharu Foujita improved; he helped her financially until her death.

paragraph: Some sources link Fernande Barrey and the famous Miss Fernande, favourite model of the female photographer Jean Agelou who appeared on many erotic postcards, although this has never been proven.

paragraph: As a painter, she exhibited the paintings "Josiane" and "Les Pêches" at the Salon d'Automne in 1929.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Christian Bourdon et Jean-Pierre Bourgeron, "Jean Agélou : de l’académisme à la photographie de charme", Éditions Marval, 2007.

alias: "Fernande" Fernande

description: French prostitute, model, and painter

wikidata_label: Fernande Barrey

wikipedia_title: Fernande Barrey


text:
Charlotte Square
Dean Cemetery
Edinburgh
Henry Snell Gamley
Scott Monument
Thomas Carlyle
Scottish National Portrait Gallery
Edinburgh
Edinburgh University
Rev Prof John Ker
Alexander Dickson
Edinburgh University
Andrew Carnegie
Central Library, Edinburgh
John Inglis, Lord Glencorse
Edinburgh University
Sydney Mitchell
William Muir
Edinburgh University

categories: Scottish sculptors,1853 births,People associated with Edinburgh,1903 deaths

paragraph: Charles McBride

paragraph: Charles McBride (1853- 17 December 1903) (sometimes known as Charles McBryde) was a Scottish sculptor active in the second half of the 19th century.

paragraph: Section::::Life.

paragraph: McBride was born in Edinburgh in June 1853.

paragraph: He lived at 8 Hope Street just off Charlotte Square, facing his stoneyard at 7 Hope Street Lane (now built over).

paragraph: He died in December 1903.

paragraph: He is buried in the northern extension of Dean Cemetery in western Edinburgh. His grave is on the south side of the north path, towards the centre of the path, in the second row back. It holds a fine bronze head depicting McBride, carved by Henry Snell Gamley.

paragraph: Section::::Notable Works.

paragraph: See

paragraph: BULLET::::- Figure of Dougal Cratur, one of the smaller figures on the west facade of the Scott Monument, Edinburgh

paragraph: BULLET::::- Bust of Thomas Carlyle (1885)

paragraph: BULLET::::- Figures on the Scottish National Portrait Gallery, Edinburgh (1885-1890)

paragraph: BULLET::::- Bust of Sir Alexander Grant, Principal of Edinburgh University (1887)

paragraph: BULLET::::- Bust of Rev Prof John Ker DD (1819-1886), New College, Edinburgh (1887)

paragraph: BULLET::::- Bust of Alexander Dickson, Edinburgh University (1889)

paragraph: BULLET::::- Bust of Andrew Carnegie, Central Library, Edinburgh, George IV Bridge (1891)

paragraph: BULLET::::- Bust of John Inglis, Lord Glencorse, Edinburgh University (1893)

paragraph: BULLET::::- Reclining figure of Archibald Campbell, 3rd Marquis of Argyll, St Giles Cathedral (1897) (overall monument designed by Sydney Mitchell)

paragraph: BULLET::::- Bust of Sir William Muir, Principal of Edinburgh University (1900)

description: Scottish sculptor

wikidata_label: Charles McBride

wikipedia_title: Charles McBride


text: Argentine

text: Argentina's rock history

text: Sui Generis

text: Serú Girán

text: progressive-rock

text: La Máquina de Hacer Pájaros

text: folk rock

text: supergroup

text: PorSuiGieco

text: Luis Alberto Spinetta

text: upper-middle class

text: conservatory

text: Thibaud Piazzini

text: absolute pitch

text: Beatles

text: classical music

text: folk

text: Carlos Alberto "Nito" Mestre

text: Sui Generis

text: psychedelic rock

text: folk-rock

text: symphonic rock

text: gig

text: piano

text: flute

text: LP

text: Vida

text: bass

text: drums

text: Roman Catholic Church

text: María Rosa Yorio

text: León Gieco

text: Raúl Porchetto

text: symphonic rock

text: cello

text: Oscar Moro

text: La Máquina de Hacer Pájaros

text: the country's last civil-military dictartoship

text: Jorge Rafael Videla

text: disappearances

text: State-sponsored terrorism

text: São Paulo

text: São Paulo

text: Milton Nascimento

text: Buenos Aires

text: Pedro Aznar

text: Serú Girán

text: Arena Obras Sanitarias

text: disco music

text: Lewis Carroll

text: Albano Harguindeguy

text: Beatles

text: Procol Harum

text: Córdoba

text: Peperina

text: Córdoba Province

text: yerba mate

text: Bystropogon mollis

text: peppermint

text: cocaine

text: liberalism

text: Yo no quiero volverme tan loco

text: Berklee College of Music

text: Pat Metheny

text: No llores por mí, Argentina

text: Falklands War

text: Buenos Aires

text: Leopoldo Galtieri

text: Roger Waters

text: Pink Floyd

text: Final Cut

text: Ferrocarril Oeste

text: Clics modernos

text: Exodus

text: democracy

text: Andrés Calamaro

text: Fito Páez

text: Fabiana Cantilo

text: Pedro Aznar

text: Luis Alberto Spinetta

text: Amnesty International

text: Buenos Aires

text: Peter Gabriel

text: Bruce Springsteen

text: Sting

text: León Gieco

text: Wilkins

text: Ilan Chester

text: punk rock

text: Pedro Aznar

text: Himno Nacional Argentino

text: Buenos Aires

text: Serú Girán

text: Pedro Aznar

text: Estadio Monumental Antonio Vespucio Liberti

text: Soccer World Cup

text: Diego Armando Maradona

text: FIFA

text: ephedrine

text: María Gabriela Epumer

text: Fernando Samalea

text: Mick Jagger

text: Keith Richards

text: John Lennon

text: Paul McCartney

text: Sui Generis

text: MTV Unplugged

text: Mercedes Sosa

text: Chuck Berry

text: Procol Harum

text: Quinta de Olivos

text: Carlos Saúl Menem

text: bootleg

text: Todd Rundgren

text: Plaza de Mayo

text: Casa Rosada

text: Néstor Kirchner

text: Clarín

text: Mendoza

text: Palito Ortega

text: Buenos Aires Province

text: Susana Giménez

text: Serú Girán

text: Teatro Colón

text: Led Zeppelin

text: Bruno Mars

text: Mark Ronson

text: Uptown Funk

text: Vida

text: Confesiones de Invierno

text: Pequeñas anécdotas sobre las instituciones

text: Adiós Sui Generis I & II

text: Porsuigieco

text: Raúl PORchetto

text: SUI Generis

text: León GIECO

text: Serú Giran

text: La Grasa de las Capitales

text: Bicicleta

text: Peperina

text: No llores por mí, Argentina

text: Yo no quiero volverme tan loco

text: Clics modernos

text: Piano bar

text: EP

text: Maxi single

text: Pedro Aznar

text: Enrique Pinti

text: Funes, un gran amor

text: MTV Unplugged

text: Mercedes Sosa

text: Random

categories: Musicians from Buenos Aires,Multi-instrumentalists,1951 births,Singers from Buenos Aires,Illustrious Citizens of Buenos Aires,Rock en Español musicians,People with bipolar disorder,Argentine songwriters,EMI Latin artists,Argentine multi-instrumentalists,Argentine male singers,Living people

paragraph: Charly García

paragraph: Charly García (born Carlos Alberto García, 23 October 1951) is an Argentine singer-songwriter, musician and record producer. With a vast and renowned career, he formed and headlined two of the most popular bands in Argentina's rock history: Sui Generis in the 1970s and Serú Girán in the 1980s, plus cult status groups like progressive-rock act La Máquina de Hacer Pájaros and folk rock supergroup PorSuiGieco. Since the 1980s García has worked mostly as a solo musician. His main instrument is the piano, followed by guitar and keyboards.

paragraph: García is widely considered by critics as one of the most influential rock artists in all the world, and (together with Luis Alberto Spinetta) as "The Father of Argentinian Rock".

paragraph: Section::::First Era - Music groups.

paragraph: Section::::First Era - Music groups.:Early years.

paragraph: Charly García was the eldest son in an upper-middle class family. His father taught mathematics and physics in elementary school, while his mother produced radio music shows, mainly shows featuring folkloric music.

paragraph: Charly began to show musical talent at an early age. At three, he received a toy piano as a gift, and soon he surprised his mother with his ability to compose and play coherent melodies, leading her to enlist him in a prestigious conservatory, the Thibaud Piazzini. At age twelve, he graduated as a Music Professor. Charly developed absolute pitch as a child.

paragraph: Section::::First Era - Music groups.:The beginning: Sui Generis (1972–1975).

paragraph: The Beatles appeared in Charly's life when he was thirteen. Having previously only been exposed to classical music and folk, he would describe the Beatles as "classical music from Mars". In high school he met Carlos Alberto "Nito" Mestre and the two fused their bands to give birth to Sui Generis.

paragraph: The band at first experimented with psychedelic rock, but its style would quickly be established as folk-rock with a certain influence from the symphonic rock of the day. At their first big gig, the band's bassist, guitarist and drummer all failed to appear. Only Charlie (García spelled his name with "ie" back then) and Nito showed up, playing piano and flute respectively. They were forced to play on their own, and were a hit with the audience despite the other musicians' absence. The band's strength lay in the songs' musical simplicity and romantic lyrics, which appealed widely to teenagers.

paragraph: In 1972, Sui Generis released its first LP, "Vida", which quickly became popular among Argentine teenagers. "Confesiones de invierno" ("Winter Confessions"), their second LP, was released in 1973. This album showcased higher production values and better studio equipment, and was very successful commercially.

paragraph: 1974 was a year of changes. Charlie lost interest in "the piano and flute" sound that Sui Generis had been developing, and decided that Sui Generis needed a change; the band would evolve towards a more traditional rock sound, incorporating bass and drums. To that end, Rinaldo Rafanelli and Juan Rodríguez joined the band. In many live shows, Sui Generis also brought in a gifted guitar player, David Lebón, whom Charly admired very much.

paragraph: With a new line-up and style, the band was ready to launch its new album. Originally titled "Instituciones", its name was changed to "Pequeñas anécdotas de las instituciones" at the producer's suggestion. The album was intended as a reflection on the unstable nature of Argentine social and political institutions at the time. Charlie's initial concept was to write a song for every traditional institution: the Roman Catholic Church, the government, the family, the judicial system, the police, the army, and so on. However, two songs, "Juan Represión", about the police, and "Botas locas", about the army, were eliminated from the album by the censors. Two more, which referred to censorship itself, had to be partially modified. While Sui Generis achieved a different, more mature sound with "Instituciones", the public did not embrace it, preferring the band's previous style, and so the album sold poorly. Around this time Charlie met his future wife, María Rosa Yorio, a singer-songwriter who became the mother of his first son, .

paragraph: Charly García continued composing, and during 1975, he prepared what would be Sui Generis's fourth album, "Ha sido" ("Has Been", playing on the word "ácido", acid). However, growing frictions between Charly and Nito and a wearying public prevented the album's release, and the decision was made to dissolve the band. Many songs from that ill-fated album were later included in other García's LPs, such as "Bubulina" (1976) and "Eiti Leda" (1978).

paragraph: Section::::First Era - Music groups.:End of Sui Generis and beginning of "La máquina" (1975–1977).

paragraph: Finally, on September 9, 1975, Sui Generis scenified its farewell at the Luna Park Stadium, giving two shows for 20 thousand people — the largest audience in the history of Argentine rock at the time. The shows have been recalled as delirium-inducing, adrenaline-fueled delivery of great music. Two LPs recorded at the live shows were released that year, "Adiós Sui Generis" (""Goodbye Sui Generis"") volumes I and II.

paragraph: In 1976, Sui Generis also recorded a long player with Argentine musicians León Gieco, Raúl Porchetto, and María Rosa Yorio. The LP was called "Porsuigieco" (mix of Raúl PORchetto, SUI Generis, León GIECO).

paragraph: After Sui Generis, certain things changed in Charly's life. From now on, he would be "Charly" instead of "Charlie". Right after his son's birth, he broke up with María Rosa Yorio, who left with Nito Mestre. Charly met Marisa Pederneiras (nicknamed "Zoca"), who was from Brazil, and they became lovers.

paragraph: Charly continued working on musical projects. He now wanted to form a symphonic rock band. With Gustavo Bazterrica (guitar), Carlos Cutaia (keyboards), José Luis Fernández (bass guitar and cello), Oscar Moro (drums) and Charly García (keyboards and voice), "La Máquina de Hacer Pájaros" ("The bird-making machine") was born. "Clarín", the most widely read newspaper in Argentina, carried a comic strip called "El Sr. García y la máquina de hacer pájaros" ("Mr. García and the bird making machine") by Crist. Liking the name, Charly chose it for the band — not for egotistical motives, as it may seem.

paragraph: La Máquina de Hacer Pájaros recorded two albums: "La Máquina de Hacer Pájaros" (1976) and "Películas" ("Movies", 1977). Some of the songs on "Movies" contained a political message directed against the country's last civil-military dictartoship (1976–1983), at a time when its dictator Jorge Rafael Videla was the leading figure of the military junta; and censorship, political repression, torture and murder as well as disappearances reached new heights, and the military government ruled by spreading State-sponsored terrorism. Perhaps as a result of the ambitious and complicated nature of its musical project, La Máquina de Hacer Pájaros did not achieve popularity.

paragraph: Finally, in that same year (1977), the band played its farewell concert during the "Festival del amor" ("Festival of Love"), which was recorded and released three years later on the LP "Música del alma" ("Music From The Soul"). After the concert Charly went to a hotel with Zoca, where together they made the decision to escape to São Paulo, Brazil.

paragraph: Section::::First Era - Music groups.:Genesis of a new sound: Serú Girán (1978–1982).

paragraph: In São Paulo, Charly met Zoca's parents. The Pederneiras being a family of artists, they were fascinated with Charly. Artistically speaking, García was influenced by certain Brazilian artists, notably Milton Nascimento. Despite Sui Generis' commercial successes, Charly was destitute. In 1978, he lived a nature-centered lifestyle with Zoca in Brazil, fishing and gathering fruit. Soon David Lebón, an Argentine musician and a friend of Sui Generis, joined them. Having a new musical partner, Charly again played, and the seed of a new musical project was planted. Charly was now determined to form a new band, but he was still broke. Making his way back to Buenos Aires, he began a new search for bandmates.

paragraph: Charly needed a bass player and a drummer, and he found both when he saw a band called Pastoral play. There he recruited a talented 19-year-old bass player, Pedro Aznar, as well his old partner from La Máquina de Hacer Pájaros, drummer Oscar Moro. The new band comprised Charly García on keyboards, guitar and voice, David Lebón on guitar, percussion and voice, Pedro Aznar on bass, keyboards and voice, and Oscar Moro on drums. Charly and David were the main songwriters.

paragraph: Charly now had a complete band, but still lacked money. At this point Charly signed a contract with a production group, although the terms of this deal were not advantageous to Charly. He did raise enough money to return to São Paulo with his new bandmates and record their first album. The band chose the name Serú Girán. "Serú Girán" was a combination of meaningless words Charly had invented as part of an eponymous nonsense song he wrote in São Paulo. The other band members liked the name so much that they also called their first album "Serú Girán", featuring the song "Serú Girán".

paragraph: The band returned to Buenos Aires with great expectations for García's new project. Their first show, in the traditional Arena Obras Sanitarias, was again advertised as "Charly García... and Serú Girán", due to contractual reasons. Thereafter, however, the name "Charly García" would no longer appear in the advertising — the band would simply go by Serú Girán. That first show was poorly received, the public having expected a new incarnation of Sui Generis. Serú Girán was completely different. The band had a new sound in which Aznar's fretless bass guitar was a key component, and a striking aesthetic with lyrics full of poetry. Puzzled audiences requested Sui Generis' old songs. In 1978, disco music was fashionable in Argentina. As a joke, Serú Girán played a song called "Disco Shock", angering the public, whose rejection marred the show.

paragraph: The following day, the "specialized" press called Serú Girán the worst band in Argentina and charged that David Lebón's vocals on their songs sounded "homosexual". The band's relationship with the media was not cordial. One number of a popular Argentine magazine called "Gente" carried a disparaging article titled "Charly García: ¿Ídolo o qué?" ("Idol or what?"). Despite the chilly reception, Serú Girán's members were convinced they had a good project and persisted, organizing more shows. They eventually garnered some acceptance from an audience that warmed up to their style.

paragraph: Serú Girán carried on during 1979 and evolved markedly. Their new LP was titled "La grasa de las capitales" ("Grease", or "Fat", "of the Capitals") and its cover was a joke directed at the magazine "Gente." The stronger and more direct nature of the lyrics, which criticized the media, including specifically magazines (especially "Gente"), fashionable music, radio and so on almost got them sent to jail. The public, however, gave the album an enthusiastic reception. The band's shows improved progressively, and eventually were performed in larger venues. The "specialized" press changed its tune, and a romance seemed to develop between the people and Serú Girán.

paragraph: Expectations were high in 1980 for Serú Girán's new long play, which would be called "Bicicleta" ("Bicycle") – a name that Charly had favored for the band (but was panned by the other members). The band sounded more mature on this record. The music was modern and strong, a key feature being the melodies. The role of the bass guitar was again central, and Pedro Aznar's work became more prominent.

paragraph: In 1979, Charly almost went to jail because of the band's lyrics, considered too clear and direct in some quarters. Even as the music's political message became stronger, it was concealed in an effort to avoid censorship and another close call with the authorities. But the message remained, ready to be heard by ears that wanted to hear it. "Canción de Alicia en el país" ("Song of Alice in the (Wonder) Land") drew an uncanny analogy between Lewis Carroll's story and the Argentine military government. "Encuentro con el diablo" ("Meeting with the Devil") is a reference to the band's meeting with Albano Harguindeguy, who was frequently referred to, behind his back, as the "Devil". A military man, he was Security Minister during those years. He gave talks to some artists, ordering them to tone down their work or leave the country — a policy that led many artists to leave Argentina at that time.

paragraph: Eventually, the band was very commercially successful; fans found its shows amazing and considered Serú Girán's music Charly's best ever. Serú Girán was dubbed "The Argentine Beatles", and Charly began to receive recognition as a great artist. Serú Girán was the first popular rock band that drew a following from among both the rich and the poor; rock was no longer circumscribed to its historically marginal position. In a recent interview, David Lebón said, "Actually we were much more like Procol Harum than the Beatles, a legendary band: a rock "viola" (slang for guitar) player (Lebón), a classical pianist (García) an infernal percussionist (Moro) and a virtuoso bass player (Aznar)".

paragraph: Luis Alberto Spinetta was another Argentine rock star of the time. His first band, Almendra, was one of the first in Argentine rock, getting its start before Sui Generis; now he had a band called Spinetta Jade. Perhaps because his style was darker, more complicated, and found harder to understand by many, he was a less popular star than Charly, and they were portrayed as enemies. Luis and Charly put that myth to bed on September 13, 1980, as their bands, Serú Girán and Spinetta Jade, played together in what has been considered one of the greatest shows in the history of Argentine rock.

paragraph: Patricia Perea, a journalist who worked for a magazine called "El Expreso Imaginario" ("Imaginary Express"), was not among the fans of Serú Girán. The magazine disliked them and criticized them strongly after they played in Córdoba, Perea's hometown. Serú Girán took revenge on Ms. Perea through their fourth LP: "Peperina", directed at her, featuring a song about her which was also called "Peperina". In Córdoba Province, the traditional Argentine infusion yerba mate is mixed with the herb "menta peperina" ("Bystropogon mollis", similar to peppermint), which is also used as a tea. Followers of the band considered "Peperina" a fantastic album with great melodies, superb performance from Aznar, and the songs—which are critical, especially of high society—poetic. "Peperina" can be viewed as a summary of Serú Girán's work.

paragraph: One of the songs on "Peperina" is titled "Llorando en el espejo" ("Crying in the mirror"), and contains a phrase that says "La línea blanca se terminó/no hay señales en tus ojos y estoy/llorando en el espejo..." ("The white line is up, /(there are) no signs in your eyes and I'm/crying in the mirror..."). With its sad melody, the tears, the mirror, and that "white line", the song seems to portray cocaine addiction. At the time, these lyrics did not draw much attention.

paragraph: "Peperina" carried a political message. The song "José Mercado" ("Market Joe") was a clear reference to José Martínez de Hoz, the minister of economy. The lyrics "José Mercado compra todo importado (...) / José es licenciado en economía, pasa la vida comprando porquerías" (which translate as "Market Joe only buys imported stuff (...) Joe has a degree in economics, spends his life buying garbage") referred to Argentina's policy of economic liberalism, with its profusion of imported (and often low-quality) products.

paragraph: 1981 may have been the best year for the band in terms of live performances. In 2000, a Serú Girán fan found some tape recordings of a December 1981 show at the Teatro Coliseo and took them to Serú Girán drummer Oscar Moro, who "cleaned" them for the CD "Yo no quiero volverme tan loco" ("I don't want to go that crazy") published in 2000.

paragraph: In early 1982, Pedro Aznar left the band to study at Boston's Berklee College of Music. (It is a very common mistake to assume that Aznar left Serú for Pat Metheny's band, one of his favorite musicians. Aznar joined Metheny's group just one full year later, in 1983). In March 1982, Serú returned to Obras Sanitarias to say goobdye to Pedro and put on a highly successful show which was recorded, and released that year as "No llores por mí, Argentina" ("Don't cry for me, Argentina"). With the loss of Aznar, the band initially considered the idea of having David Lebón play both guitar and bass. But Lebón and Charly had some differences chalked up to "musical taste", and without Pedro Aznar things were not the same. Moreover, both were mature enough to begin their own careers and that was the end of Serú Girán, until the group reunited between 1992 and 1993 for a series of live concerts and a studio album.

paragraph: Section::::Second Era – Solo career.

paragraph: Section::::Second Era – Solo career.:Beginning and early success (1982–1985).

paragraph: In 1982, Argentina was undergoing political change. After the Falklands War () in June, social chaos erupted and the military government lost part of its power.

paragraph: Charly García debuted as a soloist with a double LP, "Pubis Angelical" ("Angelical Pubis"), which was the eponymous movie's soundtrack, and the powerful "Yendo de la cama al living" ("Going from the bed to the living room"). Four hit songs from this album left their historical mark:

paragraph: BULLET::::1. "No bombardeen Buenos Aires" ("Don't bomb Buenos Aires") showed the panic in lived out in the city during the Falklands War, and strongly criticized Argentina's last civil-military dictatorship (1976–1983), especially then ruling dictator Leopoldo Galtieri (Roger Waters from Pink Floyd, on the other side of the trenches at that time, also criticized Galtieri in their 1983 Final Cut album).

paragraph: BULLET::::2. "Yendo de la cama al living" ("Going from the bed to the living room") used the experience of being trapped in a confined space as a symbol of the repression of ideas.

paragraph: BULLET::::3. "Inconsciente colectivo" ("Collective unconsciousness") was a message of hope and liberty for the stricken Argentine people.

paragraph: BULLET::::4. "Yo no quiero volverme tan loco" ("I don't want to go that crazy") was a song about the adolescent spirit of freedom and rebelliousness.

paragraph: The LP's presentation took place in December at the Ferrocarril Oeste Stadium (or Ferro). As the song "No bombardeen Buenos Aires" drew to a close near the end of the show, backdrop props simulating Buenos Aires were destroyed with fireworks.

paragraph: In 1983, Charly left Buenos Aires with a small suitcase. When he came back to Buenos Aires from New York, he brought a quality LP titled "Clics modernos" ("Modern Clicks") that was different from anything previously done in Argentine rock — it was highly singable rock music you could also dance to. Its strong message referred the past years: Exodus in "Plateado sobre plateado (huellas en el mar)" ("Silver on Silver, Footprints on the Sea"), repression in "Nos siguen pegando abajo" ("They keep hitting us down there"), "No me dejan salir" ("They won't let me out") and "Los dinosaurios" ("The Dinosaurs"), a nostalgic but defiant remembrance of those who were kidnapped or killed.

paragraph: On December 10, the course of Argentine history took a turn as the government became a democracy. Charly performed many well-received shows in 1984, and recorded another album during its last months. García also recorded an LP called "Terapia intensiva" ("Intensive care"), another movie soundtrack. "Piano Bar" was released in 1984, completing García's golden trilogy.

paragraph: During these years, García's band was home to many future Argentine music stars, including Andrés Calamaro, Fito Páez, Pablo Guyot, Willy Iturri, Alfredo Toth and Fabiana Cantilo.

paragraph: Section::::Second Era – Solo career.:Consagration and classic albums (1985–1989).

paragraph: After the success of "Piano Bar", which was García's consecration as a soloist, 1985 was a year to slow down. Charly met again with Pedro Aznar in New York by chance, but they took advantage of this meeting and recorded "Tango". The disc had some interesting material, but it did not achieve commercial success primarily due to limited distribution.

paragraph: In 1987, García came back with "Parte de la Religión" ("Part of the Religion"), a very interesting LP. Many songs from that LP became hits. Two of them, "No voy en tren" ("I don't take the train") and "Necesito tu amor" ("I need your love") are the perfect symbol of García's dichotomies: the first one says "" ("I don't need anybody around me"), and the second one says "" ("I need your love/your love saves me and is useful to me"). This LP is also featured a song, "Rezo por vos" ("I pray for you"), which was part of a project with Luis Alberto Spinetta that was never finished.

paragraph: In 1988, Charly made his acting debut at the age of 36, playing a nurse in the movie "Lo que vendrá" ("What is to come"), the soundtrack of which he also composed. Being a nurse had long been one of García's obsessions. Later that year, the Amnesty International festival wrapped up in Buenos Aires. Starring international and local rock stars, Peter Gabriel, Bruce Springsteen, Sting, Charly García and León Gieco were there.

paragraph: In 1989, Puerto Rican pop star Wilkins invited Charly to record his classic "Yo No Quiero Volverme Tan Loco", alongside Ilan Chester, from Venezuela, as a tribute to "Rock en Español"; the song was featured in Wilkins' "L.A-N.Y." album.

paragraph: Later that year, Charly released a new album, "Cómo conseguir chicas" ("How to get girls"). This would probably be his last "normal" album. He described it as "Just a bunch of songs that were never published for different reasons".

paragraph: Charly's father had long ago told him, "Never write an anagram for someone if you don't want him or her to be pissed off". During the Serú Girán years, his friend David Lebón told him something similar: "Do not write a song for a woman if you love her, because she'll leave you". The LP includes a song titled "Shisyastawuman" (a deliberately direct transliteration of "She's just a woman"), the first song García recorded in English that was written to a woman. The woman left him after hearing the song, just like Lebón had warned. A song named "Zocacola" that Charly dedicated to Zoca was included in this LP as well. A couple of months after the disc was released, Zoca left him.

paragraph: García had changed. Physically, he looked older. His music was dark, and the earlier symphonical García from La Máquina de Hacer Pájaros was gone. Now, Charly's sound was closer to either punk rock, with violent songs such as "No toquen" ("Do Not Touch"), or a depressive and dark style as shown in "No me verás en el subte" ("You Won't See Me in the Subway"). Different and adverse times lay ahead.

paragraph: For the international tour in 1989/1990, García formed a new band with Hilda Lizarazu, who sang backup vocals for Charly.

paragraph: Section::::Second Era – Solo career.:Days of excess (1990–1993).

paragraph: In 1990, Charly had many ideas but no band. Another important member of the band, Fabián "Zorrito" Von Quintiero, had left to join another band, Los Ratones Paranoicos (The Paranoid Mice). Hilda Lizarazu and Carlos García López started a band called Man Ray. Charly was now alone. For his new disc, "Filosofía barata y zapatos de goma" ("Cheap Philosophy and Rubber Shoes"), he called many of his old friends, who helped record most of the songs. Assisting him, among others, were Andrés Calamaro, Rinaldo Rafanelli, Fabiana Cantilo, "Nito" Mestre, Pedro Aznar, Fabián Von Quintiero and even Hilda Lizarazu. The first issue came once the disc was released. Its last song was a rock version of the "Himno Nacional Argentino", or the Argentine national anthem. Amid controversy, García's version of the national anthem was forbidden for some days, but García was victorious, a judge authorizing the song. Many people liked it, seeing it as a fresh, sincere, strong and respectful version of the old song.

paragraph: That year, the Government of Buenos Aires organized Mi Buenos Aires Rock (My B.A. rock), a public rock festival on Avenue 9 de Julio, the city's most famous avenue. Every act was scheduled to play 30 minutes, but Charly played for over two hours. He closed the festival playing his version of the national anthem to one hundred thousand people.

paragraph: In December 1992, Charly again embraced his past and surprisingly re-joined Serú Girán. Charly García, David Lebón, Pedro Aznar and Oscar Moro were back after ten years. A new album was recorded, titled "Serú 92". It enjoyed great commercial success, but musically was sharply different from Serú Girán's other discs.

paragraph: Serú Girán performed two blockbuster shows at the Estadio Monumental Antonio Vespucio Liberti, the largest in Argentina. Serú Girán had always been at its best when live, the four members playing very well together. This time, in Moro's words, "the show sounded like Charly García and Serú Girán".

paragraph: Section::::Second Era – Solo career.:"Say No More" era (1994–2000).

paragraph: After not having released any new solo material since 1990, in 1994 García was ready to strike back. The new project was called "La hija de "La Lágrima"" ("The Tear's Daughter"). This LP would be an introduction to the future concept of "Say No More".

paragraph: Also during 1994, the Soccer World Cup was being played in the United States. Soccer player legend Diego Armando Maradona was involved in a dispute with FIFA regarding a drug test for ephedrine doping, which he failed, preventing him from playing. After Diego was sent home, Argentina lost two important matches and was knocked out of the World Cup. When the last match was about to end, Charly called Diego on his cell phone and sang to him "live" the "Maradona's Blues", a song he composed for him. Diego cried when he heard "Un accidente no es pecado/y no es pecado estar así" ("An accident is not a sin/And is not a sin to be like this"), and the two struck up a friendship.

paragraph: 1995 was again a musical year. García formed a new band for touring on summertime (with María Gabriela Epumer, Juan Bellia, Fabián Von Quintiero, Jorge Suárez and Fernando Samalea) and named it as "Casandra Lange". His idea with the band was to play songs Charly had heard as a teen, such as "Sympathy for the Devil" (Mick Jagger–Keith Richards) and "There's a Place" (John Lennon–Paul McCartney). He recorded the performances and edit a live album, "Estaba en llamas cuando me acosté" ("I was on fire when went to bed"). All of the songs in this album are in English except for "Te recuerdo invierno" ("I remember you, winter"), which García had written in the early 1970s but never recorded with Sui Generis. In May, Charly recorded "Hello! MTV Unplugged", which is often considered by music critics as the last time that the rock star played his music to his full potential.

paragraph: "Say No More" arrived in 1996. "Say No More" was a new concept for García: "'Say No More' would be in music what painting directly on the canvas would be for a painter", he explained. He also said that the LP "will only be understood in 20 years". Some sparks of his genius showed, but longtime fans of Charly were not very fond of it at first. Today, however, the album is considered García's masterpiece, and "Say no more" the classic slogan identifying Charly García and all his music.

paragraph: During 1997, García recorded "Alta Fidelidad" ("High Fidelity") with Mercedes Sosa. Both had known each other since his childhood, so they decided to publish a collaborative work on which Mercedes would sing her favorite García songs of all time.

paragraph: In 1998, "El aguante" ("Holding On") was released. This production featured many covers translated to Spanish by García, like "Tin Soldier" (Small Faces), or "Roll over Beethoven" (Chuck Berry). A significant song which was not included was "A Whiter Shade of Pale", originally released by Procol Harum, a band that Charly had always admired.

paragraph: In February 1999, García performed at the close of the free public-rock festival "Buenos Aires Vivo III" (BA Live III). There he played a huge concert for 250.000 fans who attended one of the biggest concerts in Argentina to date. In July 1999, Charly agreed to give a private performance at the Quinta de Olivos (the Argentine Presidential residence), at the invitation of the president, Carlos Saúl Menem. On a televised bit of this event he was seen in good spirits, carrying out antics such as playing with the security cameras, or trying to teach the president how to play the piano. A limited edition of a disc memorializing the famous concert, "Charly & Charly", was released that year. Since its release, "Charly & Charly" has been out of print, and is currently available only in bootleg copies on Internet sites.

paragraph: Section::::Second Era – Solo career.:Maravillización (2000–2003).

paragraph: In 2000, Charly and Nito Mestre decided to bring Sui Generis back to life. For the special occasion, they both composed the songs for a new LP, "Sinfonías para adolescentes" ("Symphonies for Adolescents"). Of course, things were very different after 25 years, but young and older fans were excited by the idea of the return of Sui Generis. This new period would be marked by García's new "sound concept" of Maravillización or "Making something marvellous", replacing the old dark "Say no more" style.

paragraph: Finally Sui Generis played again in the Boca Juniors's Stadium, for 25.000 fans on December 7, 2000. Charly respected his fans and his old partner, and played for almost four hours in front of a delighted public, despite of the "differences" between the old and the new model Sui Generis, as regards sound, Charly's voice and behaviour, etc.

paragraph: Many journalists and some fans criticized this return, stating that the main cause for it was the money and that both members of the band had changed so much, that the new album and show had nothing to do with the "real" Sui Generis.

paragraph: During 2001, "¡Si! Detrás de las paredes" ("B [the musical note]! Behind the Walls") was edited as the second and last Sui Generis's LP in this new era. It was a mash up between live versions of the Boca Juniors's concert, new songs (as "Telepáticamente") and some versions of old songs. (such as "Rasguña Las Piedras", featuring Gustavo Cerati, former leader of Soda Stereo). Besides on October 23, 2001, Charly reached age 50. For the occasion, a special concert in the Colliseum Theater was organized.

paragraph: After this interruption in his solo Career, Charly got back to the spotlight after releasing "Influencia" ("Influence") in 2002. This new disc contained some interesting songs that made an impact in the Latin American world of Rock, such as "Tu Vicio" ("Your Vice"), "Influencia" ("Influence", translated cover from Todd Rundgren's original "Influenza") and "I'm Not In Love" (featuring Tony Sheridan). Even though it included old songs as "Happy And Real" (from "Tango IV", 1991) or "Uno A Uno" ("One to one", from "El Aguante", 1998) and different versions of the same songs, this was probably García's best album since 1994.

paragraph: Live concerts of "Influencia" were probably Charly's best in a long, long time. With the strong support of María Gabriela Epumer in chorus and guitar, Charly showed up in many different concerts, such as two in the Luna Park Stadium, Viña del Mar and Cosquín Rock with correct performances.

paragraph: Finally in October 2003, Charly released "Rock and Roll, Yo" ("Rock and Roll, Me"), dedicated to María Gabriela. The songs weren't as good as those in "Influencia", his voice often sounds out of tune and, once again the LP contained too many versions and translated covers such as "Linda Bailarina" ("Pretty Ballerina", Michael Brown) or "Wonder" ("Love´S in Need of Love Today" by Stevie Wonder). This time his shows weren't so convincing, and Epumer's absence could be felt by the fans.

paragraph: Section::::Second Era – Solo career.:Drop into the background (2004–2008).

paragraph: On April 30, 2007 Charly performed in the Plaza de Mayo in Buenos Aires at the invitation of the Madres de la Plaza for their 30th Anniversary. Around that time García routinely performed throughout Argentina and South America.

paragraph: Also, since 2004, one of his most remarkable "positive" landmarks was to play once again in Casa Rosada, the Argentine Government Palace. This event took place during the presidency of Néstor Kirchner.

paragraph: Section::::Third Era – Comeback and status as a living legend (2009–present).

paragraph: On 14 June 2008 the "Clarín" newspaper reported that Charly García was taken to a hospital in the city of Mendoza due to a violent episode in which the musician thrashed a hotel room in Mendoza. Sources related the incident to an overdose of drugs and alcohol.

paragraph: After the incident García's friend, Palito Ortega, took Charly to his country estate in Buenos Aires Province, where Ortega helped him to begin a treatment with several doctors and psychiatrists to cure his addiction. The recovery process took almost an entire year.

paragraph: After the long recovery, a cured and stable Charly came back in August 2009 with a new song called "Deberías Saber Por qué" (You Should Know Why). The song became a hit and soon Charly embarked on a large tour through Chile and Perú to promote his return. On October 23 García celebrated his 58th birthday with a concert in Velez Sarfield's Stadium, Argentina. This concert has been referred to as "The Underwater Concert" because of the heavy rain that fell.

paragraph: In October 2011, Charly was the last guest on Susana Giménez Show's final episode. While appearing on the show, he performed the song "Desarma y Sangra", originally from his band Serú Girán.

paragraph: In September 2013, Charly performed in an exclusive show called "Líneas Paralelas, Artificio imposible" (Parallel Lines, Impossible Craft) at Teatro Colón, along with two string quartets (baptized "Kashmir Orchestra" in homage to the band Led Zeppelin) and his bandmates “The Prostitution”. At the venue, they made classical arrangements to Charly's own songs under his own musical direction. Charly has gone to Mendoza City to present various compositions across his life, specially since the 2000s.

paragraph: In 2016 Charly had several health problems and appeared to walk in and out of clinics and medical controls. In 24 February 2017, after months of speculation about Charly's health, he surprisingly announced the release of his new studio album, "Random", his first studio album in seven years, which is entirely made of new original compositions. Since its release, the album has received mostly positive reviews and important record sales.

paragraph: On 19 April 2017 Charly accused Bruno Mars and Mark Ronson of plagiarism, stating that their song "Uptown Funk" stole the initial chords and riff of his classic song "Fanky", from "Cómo conseguir chicas" (1989).

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Sui Generis.

paragraph: BULLET::::- 1972 – "Vida" ("Life")

paragraph: BULLET::::- 1973 – "Confesiones de Invierno" ("Winter Confessions")

paragraph: BULLET::::- 1974 – "Pequeñas anécdotas sobre las instituciones" ("Little Anecdotes about Institutions")

paragraph: BULLET::::- 1975 – "Adiós Sui Generis I & II" (live) ("Good Bye Sui Generis, Volumes 1 and 2")

paragraph: BULLET::::- 1993 – "Adiós Sui Generis III" (live from 1975) ("Good Bye Sui Generis, Volume 3")

paragraph: BULLET::::- 2000 – "Sinfonías para adolescentes" ("Symphonies for Teenagers")

paragraph: BULLET::::- 2001 – "Si-Detrás de las Paredes" (live) ("Si-Behind the Walls")

paragraph: BULLET::::- The Title "Si", could be interpreted as 2 different things. In Spanish, "Si" means "Yes", but in Solfege, a means of remembering Musical Scales, "Si" (or "Ti") is the 7th note. And considering the fact that this is now the SEVENTH Album of Sui Generis, it makes sense.

paragraph: Section::::Discography.:Porsuigieco.

paragraph: BULLET::::- 1976 – "Porsuigieco" (Raúl PORchetto, SUI Generis, León GIECO)

paragraph: Section::::Discography.:La Máquina de Hacer Pájaros.

paragraph: BULLET::::- 1976 – "La Máquina de Hacer Pájaros" ("The Bird Making Machine")

paragraph: BULLET::::- 1977 – "Películas" ("Movies")

paragraph: Section::::Discography.:Serú Girán.

paragraph: BULLET::::- 1978 – "Serú Giran"

paragraph: BULLET::::- 1979 – "La Grasa de las Capitales" ("Grease of the Capitals")

paragraph: BULLET::::- 1980 – "Bicicleta" ("Bicycle")

paragraph: BULLET::::- 1981 – "Peperina"

paragraph: BULLET::::- 1982 – "No llores por mí, Argentina" ("Don't cry for me, Argentina")

paragraph: BULLET::::- 1992 – "Serú 92"

paragraph: BULLET::::- 1993 – "Vivo I" (live); "Vivo II" (live)

paragraph: BULLET::::- 2000 – "Yo no quiero volverme tan loco" (live from 1981; released in 2000) ("I don't want to become too crazy")

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

paragraph: BULLET::::- 1980 – "Música del Alma" ("Soul's Music")

paragraph: BULLET::::- 1982 – "Pubis Angelical/Yendo de la Cama al Living" ("Angelical Pubis / Going from the Bed to the Living Room")

paragraph: BULLET::::- 1983 – "Clics modernos" ("Modern Clicks")

paragraph: BULLET::::- 1984 – "Piano bar"

paragraph: BULLET::::- 1984 – "Terapia Intensiva" ("Intensive care") [Soundtrack]

paragraph: BULLET::::- 1985 – "Tango" (joint EP Maxi single with Pedro Aznar)

paragraph: BULLET::::- 1987 – "Parte de la Religión" ("Part of the Religion")

paragraph: BULLET::::- 1988 – "Lo que Vendrá" ("Times to come") [Soundtrack]

paragraph: BULLET::::- 1989 – "Cómo Conseguir Chicas" ("How To Get Girls")

paragraph: BULLET::::- 1990 – "Filosofía Barata y Zapatos de Goma" ("Cheap Philosophy and Rubber Shoes")

paragraph: BULLET::::- 1991 – "Tango 4" (joint album with Pedro Aznar)

paragraph: BULLET::::- 1992 – "Radio Pinti" (joint album with Pedro Aznar and Enrique Pinti)

paragraph: BULLET::::- 1993 – "Funes, un gran amor" [Soundtrack]

paragraph: BULLET::::- 1994 – "La Hija de la Lágrima" ("The Tear's Daughter")

paragraph: BULLET::::- 1995 – "Hello!" ("MTV Unplugged")

paragraph: BULLET::::- 1996 – "Say No More"

paragraph: BULLET::::- 1997 – "Alta Fidelidad" (with Mercedes Sosa) ("High Fidelity")

paragraph: BULLET::::- 1998 – "El Aguante" ("The «Holding On»")

paragraph: BULLET::::- 1999 – "Demasiado Ego" ("Too Much Ego") (live)

paragraph: BULLET::::- 1999 – "Charly & Charly en Olivos" (live, limited edition).

paragraph: BULLET::::- 2002 – "Influencia" ("Influence")

paragraph: BULLET::::- 2003 – "Rock and Roll, Yo" ("Rock And Roll, Me")

paragraph: BULLET::::- 2010 – "El Concierto Subacuático" ("The Underwater Concert") (live)

paragraph: BULLET::::- 2010 – "Kill Gil"

paragraph: BULLET::::- 2012 – "60x60" (live)

paragraph: BULLET::::- 2017 – "Random"

paragraph: Section::::Discography.:Cassandra Lange.

paragraph: BULLET::::- 1995 – "Estaba en llamas cuando me acosté" ("I Was On Fire When I Laid Down")

alias:
The King of Argentine Rock
Charly Garcia
Carlos Alberto García Moreno

description: a singer-songwriter, musician, and producer from Argentina with a long career in rock music

wikidata_label: Charly García

wikipedia_title: Charly García