text: State of Colorado

text: Colorado State Senate

text: Colorado House of Representatives

text: Jefferson County

text: Democrat

text: November 4, 2014 general election

text: Greeley

text: Ault

text: Highland High School

text: University of Colorado Boulder

text: America Votes

text: NARAL

text: independent living

text: disabled

text: Emerge

text: ProgressNow Colorado

text: Sue Schafer

text: primary

text: ballot

text: Colorado

text: all mail-in ballot

text: Republican Party

text: 2014 general election

text: 2016 general election

text: Colorado State Senate

text: Cheri Jahn

text: Colorado State Senate election

text: 2018 General Election

text: Libertarian

text: Colorado General Assembly

text: Speaker

text: Dickey Lee Hullinghorst

text: Student Learning Objectives

text: Crisanta Duran

text: "Speaker Pro Tempore"

text: Jessie Danielson at the Colorado General Assembly

text: Ballotpedia.org: Jessie Danielson

categories: Colorado Democrats,21st-century American politicians,Colorado state senators,Women state legislators in Colorado,People from Wheat Ridge, Colorado,People from Weld County, Colorado,University of Colorado Boulder alumni,Women in Colorado politics,Members of the Colorado House of Representatives,21st-century American women politicians,Living people

paragraph: Jessie Danielson

paragraph: Jessie Danielson is an American politician from the State of Colorado. She is an elected member of the Colorado State Senate representing District 20. Previously, she served in the Colorado House of Representatives representing house district 24 in Jefferson County. A Democrat, Danielson was first elected in the November 4, 2014 general election.

paragraph: Section::::Biography.

paragraph: Danielson is a resident of Wheat Ridge. She was born in Greeley and was raised on her family's farm near Ault, graduating from Highland High School. She is a graduate of the University of Colorado Boulder. Her work experience includes America Votes working on election strategy and public policy, NARAL Pro-Choice Colorado as Political Director, and an independent living center that assists the disabled in living independently.

paragraph: Danielson is a former chair of the board of directors for Emerge Colorado and a former board member of both NARAL Pro-Choice Colorado and ProgressNow Colorado. She has served as a gubernatorial appointee on both the Colorado Commission on Aging and the Voter Access and Modernized Elections Commission.

paragraph: Section::::Election history.

paragraph: Section::::Election history.:2014 election.

paragraph: On January 12, 2014, incumbent State Representative Sue Schafer opted out of seeking a fourth term. On January 21, 2014, Danielson announced her candidacy in a press release.

paragraph: Section::::Election history.:2014 election.:Democratic primary.

paragraph: On January 12, 2014, local Edgewater City Councilmember and Democrat Kristian Teegardin filed his candidacy for the seat. Danielson's filing created a primary race for the Democratic nomination. To qualify for the primary ballot in Colorado, candidates are required to win at least 30% of the vote of seated delegates at nominating assemblies held by political parties. At the March 29, 2014 Democratic assembly, Danielson received 58 out of 99 votes cast (or 58.6%), with Teegardin winning the rest; meaning both candidates qualified for the Democratic primary ballot. Danielson, with the most votes, won "top line" on the primary ballot.

paragraph: The Democratic primary was held as an all mail-in ballot election ending at 7:00 P.M. on June 24, 2014. Danielson defeated Teegardin, thereby becoming the Democratic nominee for the November 4, 2014 general election.

paragraph: Section::::Election history.:2014 election.:General election.

paragraph: Having won the Democratic Party primary, Danielson faced Republican Joe DeMott—who was unopposed in the Republican Party primary—on the 2014 general election ballot. Danielson went on to win this election, which ended on November 4, 2014.

paragraph: Section::::Election history.:2016 election.

paragraph: Danielson ran for a second two-year term in the 2016 general election. She was unopposed in the Democratic primary election. Republicans nominated Joy Bowman as the Republican candidate for the general election during their nominating assembly. Bowman later withdrew from the race, and the Republican HD-24 vacancy committee appointed Danielson's 2014 opponent, Joe DeMott, to fill the Republican vacancy on the 2016 general election ballot.

paragraph: Section::::Election history.:2016 election.:General election.

paragraph: Danielson defeated DeMott in the 2016 election, winning a second term.

paragraph: Section::::Election history.:2018 election.

paragraph: On May 24, 2017, Danielson filed her candidacy for the Colorado State Senate, District 20, instead of running for a third term in the State House. Incumbent Senator Cheri Jahn was prohibited from running again by term limits. Danielson was unopposed in the 2018 Democratic primary for Senate District 20.

paragraph: With Republicans holding a one-seat majority in the State Senate, the district was one of five competitive seats in the Colorado State Senate election that were watched closely around the country as Democrats worked to "flip" the chamber to Democratic control. Danielson went on to win her race, which ended on November 6, 2018.

paragraph: Section::::Election history.:2018 election.:General election.

paragraph: In the 2018 General Election, Democrat Jessie Danielson faced Republican Christine Jensen and Libertarian Charles Messick.

paragraph: Section::::Legislative career.

paragraph: The bicameral Colorado General Assembly meets each January for a 120-day regular session.

paragraph: Section::::Legislative career.:70th General Assembly.

paragraph: After the 2014 General Election, Colorado's 70th General Assembly convened on January 7, 2015, at which time Danielson was sworn in. The new Speaker of the House, Dickey Lee Hullinghorst, appointed Danielson to the following committees:

paragraph: BULLET::::- Agriculture, Livestock, & Natural Resources

paragraph: BULLET::::- Public Health Care & Human Services

paragraph: BULLET::::- Local Government

paragraph: Section::::Legislative career.:70th General Assembly.:2015 session.

paragraph: During the 2015 regular session, Danielson introduced and sponsored the following bills:

paragraph: BULLET::::- HB15-1018: Protecting Seniors from Elder Abuse

paragraph: BULLET::::- HB15-1079: Funding for Teen Pregnancy and Dropout Prevention Program

paragraph: BULLET::::- HB15-1133: Continue the Colorado Pay Equity Commission

paragraph: BULLET::::- HB15-1220: Medical Care for Victims of Campus Sexual Assault

paragraph: BULLET::::- HB15-1242: Patient Caregiver Designation Requirement of Hospitals

paragraph: BULLET::::- HB15-1259: Permitting Residential Rain Barrels

paragraph: BULLET::::- HB15-1324: Implementing Student Learning Objectives Processes

paragraph: BULLET::::- SB15-132: Empowering Students In Higher Education Funding

paragraph: BULLET::::- SB15-178: Continuing the Deaf & Hard of Hearing Commission

paragraph: BULLET::::- HJR15-1012: Renaming a Section of Colorado HWY 93 in Memory of Jefferson County Sheriff's Sgt. David Baldwin

paragraph: Section::::Legislative career.:70th General Assembly.:2016 session.

paragraph: During the 2016 regular session, Danielson introduced and sponsored the following bills:

paragraph: BULLET::::- SB16-134: Professional Licensing For Military Veterans

paragraph: BULLET::::- SB16-214: Real-time Water Management Study

paragraph: BULLET::::- SB16-114: Employee-earned Paid Sick Leave

paragraph: BULLET::::- HJR16-1017: Designate April 12 Equal Pay Day

paragraph: BULLET::::- HB16-1449: Safe Contracting For School District Services

paragraph: BULLET::::- HB16-1384: Testimony Legal Privilege Consent Disability Advocate

paragraph: BULLET::::- HB16-1347: Employer Information Concerning Wage Law Violation

paragraph: BULLET::::- HB16-1168: Sunset Rural Alcohol & Substance Abuse Treatment Program

paragraph: BULLET::::- HB16-1156: Extend Pay Transparency Protection All Employees

paragraph: BULLET::::- HB16-1027: Criminal Deposition For At-risk Persons

paragraph: BULLET::::- HB16-1005: Residential Precipitation Collection (Rain Barrels)

paragraph: BULLET::::- HB16-1001: State Contract Certify Compliance With Equal Pay Laws

paragraph: Section::::Legislative career.:71st General Assembly.

paragraph: After the 2016 General Election, Colorado's 71st General Assembly convened on January 11, 2017, at which time Danielson was sworn in. The new Speaker of the House, Crisanta Duran, appointed Danielson "Speaker Pro Tempore" of the House and to three of its committees:

paragraph: BULLET::::- Public Health Care & Human Services (vice chair)

paragraph: BULLET::::- Appropriations

paragraph: Section::::Legislative career.:71st General Assembly.:2017 session.

paragraph: During the 2017 regular session, Danielson introduced and sponsored the following bills:

paragraph: BULLET::::- SJR17-032: Workers' Memorial Day

paragraph: BULLET::::- SB17-142: Breast Density Notification Required

paragraph: BULLET::::- SB17-121: Improve Medicaid Client Correspondence

paragraph: BULLET::::- SB17-110: Accessibility Of Exempt Family Child Care

paragraph: BULLET::::- SB17-075: Income Tax Deduction For Military Retirement Benefits

paragraph: BULLET::::- SB17-013: Fire and Police Pension Association Multi-employer Deferred Compensation Plan Document

paragraph: BULLET::::- HJR17-1028: Honoring Gold Star Families

paragraph: BULLET::::- HJR17-1022: Equal Pay Day

paragraph: BULLET::::- HB17-1374: Colorado Heroes Hunting & Fishing Act

paragraph: BULLET::::- HB17-1269: Repeal Prohibition Of Wage Sharing Information

paragraph: BULLET::::- HB17-1253: Protect Seniors From Financial Abuse

paragraph: BULLET::::- HB17-1247: Patient Choice Health Care Provider

paragraph: BULLET::::- HB17-1232: Public Utilities Alternative Fuel Motor Vehicles

paragraph: BULLET::::- HB17-1189: Colorado Wine Development Board Term Limits

paragraph: BULLET::::- HB17-1140: Enhance Student Support Colorado School of Mines Fee-for-service Funds

paragraph: BULLET::::- HB17-1129: Technical Issues Filing Medicaid Appeals

paragraph: BULLET::::- HB17-1126: Medicaid Appeal Review Legal Notice Requirements

paragraph: BULLET::::- HB17-1109: Child Sex Assault Pattern Offense Place Of Trial

paragraph: BULLET::::- HB17-1021: Wage Theft Transparency Act

paragraph: BULLET::::- HB17-1004: College Credit For Military Education And Training

paragraph: Section::::Legislative career.:71st General Assembly.:2018 session.

paragraph: During the 2018 regular session, Danielson introduced and sponsored the following bills:

paragraph: BULLET::::- SB18-157: Colorado Women's Veterans Act

paragraph: BULLET::::- HB18-1378: Equal Pay For Equal Work Act

paragraph: BULLET::::- HB18-1368: Local Control Of Minimum Wage

paragraph: BULLET::::- HB18-1341: Apprenticeship And Vocational Technical Training

paragraph: BULLET::::- HB18-1246: Modernization Of The Nursery Act

paragraph: BULLET::::- HB18-1244: Honor The Service Of Submarine Veterans

paragraph: BULLET::::- HB18-1108: Commission Deaf Hard Of Hearing Deafblind

paragraph: BULLET::::- HB18-1104: Family Preservation For Parents With Disability

paragraph: BULLET::::- HB18-1097: Patient Choice Of Pharmacy

paragraph: BULLET::::- HB18-1060: Income Tax Deduction For Military Retirement Benefits

paragraph: BULLET::::- HB18-1016: Honor The Service Of The Seabees

paragraph: Section::::Awards & Recognition.

paragraph: Danielson has received the following awards and recognition during her time in office:

paragraph: BULLET::::- 2018 Distinguished Service Award, National Federation of the Blind - Colorado

paragraph: BULLET::::- 2018 Trailblazer of the Year Award, Emerge Colorado

paragraph: BULLET::::- 2017 Legislator of the Year, Colorado Community College System

paragraph: BULLET::::- 2017 Legislative Leadership Award, Colorado County Clerks Association

paragraph: BULLET::::- 2017 Legislator of the Year Award, Developmental Disabilities Resource Center

paragraph: BULLET::::- 2016 Elected Official of the Year, Jefferson County Council on Aging and the Seniors’ Resources Center

paragraph: BULLET::::- 2016 Friend of Labor Award, Jefferson County Democratic Party

paragraph: BULLET::::- 2016 Friend of the Farm Bureau, Colorado Farm Bureau

paragraph: BULLET::::- 2015 The "Laura Hershey 'Pen is Mightier than the Sword' Award," Colorado Cross-Disability Coalition

paragraph: BULLET::::- 2015 Champion of Change Award, Colorado Women's Chamber of Commerce

paragraph: Section::::External links.

paragraph: BULLET::::- Jessie Danielson at the Colorado General Assembly

paragraph: BULLET::::- Ballotpedia.org: Jessie Danielson

description: American politician

wikidata_label: Jessie Danielson

wikipedia_title: Jessie Danielson


text:
Americana
Old Settler's Music Festival
Friday Night Lights
Spy Kids
one-man band
Edward Sharpe
Mumford & Sons
Railroad Revival Tour
Dualtone Records
Paper Bird
Esmé Patterson
Conan
Late Show with David Letterman
Late Night with Seth Meyers
Austin City Limits
Americana Music Awards
Lee Leffingwell
Bandcamp
Can't Wake Up
Dualtone
Can't Wake Up
Americana Music Awards

categories: Americana musicians,Musicians from Austin, Texas,Male actors from Texas,One-man bands,Place of birth missing (living people),Living people,Year of birth missing (living people)

paragraph: Shakey Graves

paragraph: Shakey Graves (born Alejandro Rose-Garcia on June 4, 1987) is an American Americana musician from Austin, Texas.

paragraph: His music combines blues, folk, and rock and roll. Rose-Garcia received his stage name at Old Settler's Music Festival in 2007 after he and his friends jokingly gave each other Indian guide names over a campfire. After an inspired night of playing music, he decided to keep the name.

paragraph: Section::::History.

paragraph: Before being known as Shakey Graves, Rose-Garcia had acting roles in "Friday Night Lights" and the "Spy Kids" franchise.

paragraph: Shakey Graves became known for his one-man band set up and most of his 2011 self-released debut album "Roll the Bones" features him playing solo. This set up originated after he grew tired of having to borrow kick drums and high hats in order to perform. His solution consisted of a modified suitcase that functions as both a kick drum and a tambourine stand built by a close friend.

paragraph: His unique style of performance led to him being asked to be the official “busker” for the Edward Sharpe and Mumford & Sons Railroad Revival Tour in 2011, where he played music for patrons entering each venue.

paragraph: His follow-up EP "The Donor Blues" was released in 2012, and features a collection of recordings from 2009.

paragraph: After being courted by multiple labels, Shakey Graves signed with Dualtone Records. When he began working on the album, he added other musicians to his recording process and live set, including multi-instrumentalists Patrick O'Connor, Jon Shaw, and Chris Boosahda, who produced the album. Three songs are duets with ex-Paper Bird member Esmé Patterson. The album, titled "And the War Came," was released on October 7, 2014.

paragraph: Shakey Graves then began touring as a three-piece band. The band made their television debut on October 14, 2014 on "Conan", and then appeared on the "Late Show with David Letterman," performing "Dearly Departed" with Patterson. The band performed their next single, "The Perfect Parts," on "Late Night with Seth Meyers". On May 6, 2015 the band performed on Austin City Limits.

paragraph: In September 2015, Shakey Graves won the Best Emerging Artist award at the 2015 Americana Music Awards.

paragraph: On February 9, 2012, Lee Leffingwell, the Mayor of Austin, proclaimed a "Shakey Graves Day." Every year on February 9 through the 11th, Shakey Graves offers all of his music, including unreleased albums "The State of Texas vs. Alejandro Rose-Garcia", "Story of My Life", "As Per Request", and "West of Calgary" on Bandcamp for pay-what-you-want prices.

paragraph: On June 30, 2017 the band released "The Donor Blues" and "Nobody's Fool" as a collection titled "Shakey Graves and the Horse He Rode In On" on vinyl and streaming services under the Dualtone label.

paragraph: Shakey Graves released a new album, "Can't Wake Up," on May 4, 2018, on Dualtone Records.

paragraph: Section::::Discography.

paragraph: BULLET::::- "Roll the Bones" (2011)

paragraph: BULLET::::- "Donor Blues EP" (2012)

paragraph: BULLET::::- "And the War Came" (Dualtone, 2014)

paragraph: BULLET::::- "Nobody's Fool" (Dualtone, 2015)

paragraph: BULLET::::- "The Sleep EP" (2018)

paragraph: BULLET::::- "Can't Wake Up" (Dualtone, 2018)

paragraph: Section::::Awards.

paragraph: BULLET::::- Best Emerging Artist — 2015 Americana Music Awards

description: Americana musician from Austin, Texas

wikidata_label: Shakey Graves

wikipedia_title: Shakey Graves


text:
KG
John Charlton
Lord Stafford
John, the fourth lord
Ireland
Countess of March
Adam of Usk
Mortimers
Henry of Bolingbroke
Bristol
Chester
Richard II
seneschal
Owain Glyndŵr
Welshpool
Usk
Caerleon
Garter
St. Asaph
Sir John Oldcastle
Powys Castle
Gruffudd Vychan
Strata Marcella
Alianore Holland
Thomas Holland, 2nd Earl of Kent
Edmund Holland, 4th Earl of Kent
Roger Mortimer, 4th Earl of March
Greys
Sir John Grey of Heton
Sir John Tiptoft
marcher chieftains
Sir John Berkeley
Beverstone Castle
John Sutton, 1st Baron Dudley
Edmund Sutton
Powis Castle
Herbert family

categories: 1421 deaths,Medieval English nobility,Barons in the Peerage of England,1370 births,Medieval English knights,Knights of the Garter,14th-century English people,English people of Welsh descent,Marcher lords

paragraph: Edward Charlton, 5th Baron Charlton

paragraph: Edward Charlton (also Cherleton or Charleton), 5th Baron Charlton, KG (1370–1421), 5th and last Lord Charlton of Powys, was the younger son of John Charlton, the third baron, and his wife, Joan, daughter of Lord Stafford.

paragraph: During the lifetime of his elder brother John, the fourth lord, and very soon after her husband's death in Ireland (20 July 1398), Edward married the widowed Countess of March. Her lordships and castles of Usk and Caerleon thus fell into his hands. This brought him into relations with the chronicler Adam of Usk, who speaks of him as "juvenis elegantissimus" and is loud in his praises.

paragraph: Charlton's relationship to the Mortimers involved him, however, in hostility to Henry of Bolingbroke, who, in July 1399, was about to proceed from Bristol to ravage his lands; but the chronicler Adam, who combined Lancastrian politics with attachment to the house of Mortimer, claims to have negotiated peace, and to have persuaded Henry to take Charlton among his followers. Charlton then accompanied Henry to Chester in his march against Richard II, and was afterwards in high favour with him. About this time Charlton showed his personal severity and the extent of the franchises of a lord marcher by condemning to death the seneschal of Usk for an intrigue with his natural sister, probably prioress of that town.

paragraph: On 19 October 1401 the death of the 4th Baron Cherleton without issue involved Edward's succession to the peerage and estates of Powys. It was a critical period in the history of the Welsh marches. Owain Glyndŵr had already risen in revolt, and had ravaged the neighbourhood of Welshpool, the centre of the Charltons' power, whence he had been driven by John Charlton just before his death. Edward Charlton was possessed of inadequate resources to contend with so dangerous a neighbour; yet no border lord took a more prominent part in the Welsh war than he. In 1402 Owen overthrew his castles of Usk and Caerleon, though next year Charlton seems to have again got possession of them. In 1403 he urgently besought the council to reinforce the scanty garrisons of the border fortresses. In 1404 he was reduced to such straits that the council very unwillingly allowed him to make a private truce with the Welsh. In 1406 his new charter to Welshpool shows in its minute and curious provisions the extreme care taken to preserve that town as a centre of English influence, and exclude the 'foreign Welsh' from its government, its courts, and even its soil. Some time before 1408 Charlton was made a knight of the Garter. In 1409 he procured a royal pardon for those of his vassals who had submitted to Owen, but in 1409 Owen and John, the claimant to the bishopric of St. Asaph, renewed their attack on his territories. Strict orders were sent from London that Charlton was not to leave the district, but keep all his fortresses well garrisoned against the invader. The growing preponderance of the English side may be marked in the injunction of the council not in any case to renew his old private truce with the Welsh. Finally Charlton succeeded in maintaining himself against the waning influence of Owen.

paragraph: In January 1414 Sir John Oldcastle, after his great failure, escaped to those Welsh marches, where he had first won fame as a warrior, and ultimately took refuge in the Powys estates of Charlton. There he lurked for some time until the promise of a great reward and the exhortations of the bishops to capture the common enemy of religion and society induced Charlton to take active steps for his apprehension. At last, in 1417, the heretic was tracked to a remote farm at Broniarth, and, after a severe struggle, was captured by the servants of the lord of Powys. He was first imprisoned in Powys Castle, and thence sent to London. For this service Charlton received the special thanks of parliament. The charters are still extant in which he rewarded the brothers Ieuan and Gruffudd Vychan, sons of Gruffudd ap Ieuan, for their share in Oldcastle's capture (1419).

paragraph: In 1420 Charlton conferred a new charter on the Cistercian abbey of Strata Marcella, of which his house was patron. He died on 14 March 1421.

paragraph: Section::::Marriage and Issue.

paragraph: Edward Charleton married twice:

paragraph: BULLET::::- Firstly to Alianore Holland, daughter of Thomas Holland, 2nd Earl of Kent and sister and co-heiress of Edmund Holland, 4th Earl of Kent, and widow of Roger Mortimer, 4th Earl of March. He left no sons, but two daughters and co-heiresses. The estates were divided between the co-heiresses, and the peerage fell into abeyance from which it has probably never emerged, the later creation in favour of the Greys being more probably a new peerage than a revival of the old one:

paragraph: BULLET::::- Joan Charleton, eldest daughter, who married Sir John Grey of Heton (c. 1385–1421), Northumberland

paragraph: BULLET::::- Joyce Charleton, youngest daughter, who married Sir John Tiptoft, and had descendants both powerful marcher chieftains.

paragraph: BULLET::::- Secondly to Elizabeth Berkeley, daughter of Sir John Berkeley of Beverstone Castle, Gloucestershire, who survived her husband and married secondly John Sutton, 1st Baron Dudley. Their son Edmund Sutton married Joyce Tiptoft, daughter of Joyce de Cherleton and Sir John Tiptoft. Grey and Dudley descendants jointly held the Cherleton inheritance, including Powis Castle, until it was allowed to pass to their kinsmen the Herbert family in 1587.

description: English noble

wikidata_label: Edward Charleton, 5th Baron Cherleton

wikipedia_title: Edward Charlton, 5th Baron Charlton


categories: 1300 births,14th-century English people,Barons in the Peerage of England,1360 deaths

paragraph: John Charlton, 2nd Baron Charlton

description: English noble

wikidata_label: John Charleton, 2nd Baron Cherleton

wikipedia_title: John Charlton, 2nd Baron Charlton


text:
bishop of Kraków
Flagellant
canonization
Stanislaus of Szczepanów
translated
Wawel Cathedral
Zbigniew Oleśnicki
Catholic Encyclopedia
bull
Urban VIII

categories: 1200 births,1266 deaths,Bishops of Kraków,13th-century Roman Catholic bishops

paragraph: Jan Prandota

paragraph: Jan Prandota (c. 1200 – 20 September 1266) was bishop of Kraków from 1242 to his death in 1266.

paragraph: Prandota is recorded as having driven the Flagellants from his diocese, and was influential in achieving the canonization of Stanislaus of Szczepanów, whose relics he translated to Wawel Cathedral in 1245.

paragraph: As part of an attempt in the 15th century by Bishop Zbigniew Oleśnicki to expand the cult of Saint Stanislaus, the tomb of Prandota was "miraculously and conveniently rediscovered" in Wawel Cathedral in 1454, lists of Prandota's miracles were recorded, and pilgrimages to the newly discovered burial site were encouraged. This veneration ceased in the 17th century, due to what the "Catholic Encyclopedia" called a misinterpretation of the 1634 bull "De cultu servorum Dei" of Urban VIII.

description: Polish bishop

wikidata_label: Jan Prandota

wikipedia_title: Jan Prandota


text:
Ghent
Belgium
electronic music
experimental
netlabel
industrial
DSP
sound design
ambiental
experimental
glitch
noise
modular
Dyslexic Response
Hangars Liquides
generative
fractal
indie game developer
bullet hell
shmup
audiovisual
generative gameplay
IDM
FL Studio
brainwave synchronizers
illbient
Autoplate
post-rock
trip hop
video game music
8-bit
power noise
soundscaping
Isolate Records
Polish
Imminent
Igloo Magazine
Somatic Responses
Richard Devine
Venetian Snares
Diagram of Suburban Chaos
Mirex
Thinner
cyberdelic
La Peste
Hangars Liquides
speedcore
Iannis Xenakis
power electronics
Prometheus Burning
psycho-
electro-acoustic
contact microphone
audio editors
mediterranean
drone
microsound
transit of Venus
Mirakel Musik
Andrey Kiritchenko
Lina
Farbrausch
Soulseek Records
musical genre
Enough Records
concept album
transhumanism
emerging technologies
microtonality
atmospherics
Kirdec
Cabaret Voltaire
Shitmat
Chevron
Fuckparade
Liège
magnum opus
Metaphysics
breakcore
polystylist
C-drik
Ukrainian
noise
Kotra
Jan Robbe's official site
Duncan Avoid's official site
Jan Robbe's discography
FRAMEofMIND official site

categories: 1980 births,Belgian industrial musicians,Intelligent dance musicians,Belgian electronic musicians,Ambient musicians,Experimental musicians,Braindance musicians,Remixers,Living people

paragraph: Jan Robbe

paragraph: Jan Robbe (born 14 June 1980 in Ghent, Belgium), otherwise known by his music project aliases Atomhead, Erratic, UndaCova and Diagnostic, is an electronic music artist. He founded the experimental netlabel Entity in 2003 with friend Nico de Gols (aka Kaebin Yield). Jan Robbe is known for expressing various musical styles under different pseudonyms. "Atomhead" and "UndaCova", his two most prominent projects, focus on fractured industrial beats and densely textured DSP sound design techniques, whereas "Erratic" is a vehicle for pursuing more minimal long-form ambiental directions. The most recent (2018) "Diagnostic" project explores experimental sound design, glitch and noise structures, combining digital and modular synthesis. Robbe has released music on distinguished labels such as Dyslexic Response and Hangars Liquides, and collaborated with artists who operate in similar aesthetic domains, including La Peste, Neurocore, Subskan and Xanopticon.

paragraph: Besides his activities as music producer, Robbe is also known for creating generative (mostly fractal) graphic design as FRAMEofMIND and as an indie game developer responsible for creating Hyperspace Invaders, a bullet hell shmup with audiovisual and generative gameplay characteristics.

paragraph: Section::::Projects.

paragraph: Section::::Projects.:UndaCova.

paragraph: In 1999 Jan Robbe adopted the name "UndaCova" to release IDM experiments using FL Studio, which remains one of his favourite programs. These include "S-T-U-C-K" (2001) on the Arghprkl netlabel, and a series of meditative brainwave synchronizers released on Theta. An illbient split with Affective Disorder entitled "Study of a Ladybug on a Rope" was later released on Autoplate. Robbe's influences at this time included the post-rock and trip hop genres, as well as old video game music, which inspired the "Metamood Katalyst" 12" released on Pleemobil. Say Vegin of "Freestyle Magazine" drew comparisons in the album's sound to 8-bit, calling it a collection of "hard-tek cut-ups, textured polygons and hypnotizing synths". By the end of 2002, Robbe had founded the xE Phalanx project, a joint collaboration with artists from around the world. UndaCova would go on to participate in two xE Phalanx albums; 5E Phalanx's "Pragmatic Impulse" and 7E Phalanx's "Pulse", both released on the Entity netlabel.

paragraph: A dramatic shift in sound occurred in 2003 with the self-released power noise EP "Human Nature". This period was marked by dark soundscaping and assaulting beat constructions, culminating in 2006 with the release of "Intrusion" on Isolate Records. The music of "Intrusion" is noted for its hyper-intensity, sonic density and high production values. It contains remixes by Polish cybercore artist Neurocore and Belgian musician Imminent. Luca Maini of "Igloo Magazine" summarized the album's sound as "Somatic Responses mangled and speeded up to create a teeth-grinding industrial monster, ultra processed and with thousands of razor sharp beats packed together. ... This is the perfect music if you like Richard Devine but you think he should stick to the smashing stuff he performs live, or maybe you think Venetian Snares is a genius but he's gone too melodic." UndaCova has remixed tracks by Danny Kreutzfeldt, White Nois Stasis and Diagram of Suburban Chaos, and is also featured on the Mirex "Carbon" compilation, Thinner's "Recore" remix album, Somia's "Miad", and the "Polymorphik Piece" series released on PuZZling Rec. The project went undercover in 2007.

paragraph: Section::::Projects.:Atomhead.

paragraph: Atomhead was founded in 2004 as a means to evolve the sounds already explored with the UndaCova moniker. Often compared with the cyberdelic flashcore experiments of La Peste, Atomhead released "Spiral Field Velocity 2.0" in 2005 on La Peste's Hangars Liquides label, the main stable behind flashcore and experimental speedcore. Atomhead has also been likened to 60's-era Iannis Xenakis and power electronics. Atomhead appeared on numerous compilations throughout 2007 and 2008, including "Vortex" on Entity, "Delayed Reaction" on Peace Off, and "We Are The Music Breakerz" on Reconfiguration Records. Atomhead has remixed tracks by Sedarka, Ronny Ragtroll, Xanopticon, and Prometheus Burning, among others.

paragraph: Section::::Projects.:Erratic.

paragraph: 2003 saw the inception of Erratic, a side-project for abstract, "highly immersive soundscapes" and psycho-/electro-acoustic sound art. The aim of Erratic is to "unify sound with thoughts and imaginary visual landscapes". For most of Erratic's output, Robbe eschews computer-generated beats and rhythms in favour of "exotic instruments" and contact microphone-derived sounds, which are subsequently manipulated using various audio editors. The results often sound organic in nature, with comparisons drawn to mediterranean and oceanic settings, as well as the drone and microsound genres. In 2004 Erratic and ambient artist Hackeronte joined to form Pandemia. On the day of the transit of Venus in 2004, they released the self-described "spacetexture journey" "Venus Urania" on Entity, in an attempt to capture a fitting sonic environment for the event. The same year, Erratic released "Presence" on Mirakel Musik; a 50-minute composition of "richly textured" field recordings intended to accompany the listener to sleep. Erratic has also collaborated with music artists Andrey Kiritchenko and fellow Belgian Lina, visual artists Jesper Bentzen and the Farbrausch demogroup, and has released "Activation Fields" on Entity (2004), "The Invisible Landscape" on Mystery Sea (2006), and contributed to compilations on Con-v, AntmanuvMicro and Soulseek Records.

paragraph: Section::::Projects.:Duncan Avoid.

paragraph: Duncan Avoid was a collaboration between Entity-founders Jan Robbe and Nico de Gols. The project's goal was to defy musical genre as well as technical limitations. Their first album "Cybernetics" was released in 2003 on Enough Records; a concept album concerned with transhumanism and emerging technologies. The album is unique among other releases on the Enough imprint for its extensive use of microtonality and unresolved atmospherics, described by one journalist as "a spacious, complex, and arguably psychoactive menagerie of integrated electronic soundscapes. ... a purely abstruse composition of sonic nomogenetics, synthetic coils and unfurling digital helices, producing from the ether intangible imagery of high technology newly conjoined with anthropomorphic sentience". "Cybernetics" was followed by appearances on Kirdec's "Stadskantoor Zero" and d.compose's "Analysis EP", for which Duncan Avoid imparted a "Cybernetics"-esque remix of d.compose's "Thresn 54-231001". Duncan Avoid was also performing throughout Europe at this time, including two shows at the Cabaret Voltaire with Shitmat and Chevron, the 2003 Fuckparade in Berlin, and the 2004 Polymorphik Festival in Liège, Belgium.

paragraph: In 2004 the duo released their magnum opus "Metaphysics" on Hive Records. Many have found the album's fusing and traversing of disparate styles difficult to categorize, with one reviewer calling it "so innovative it sounds almost entirely novel, almost totally devoid of obvious influences, to the point of being a new form without a ready frame of reference." Similar sentiments were expressed by others, with descriptions ranging from "punchy breakcore freneticism coiled tightly around endlessly twisted ambience and hectic experimental sound sculpture", to "a gaseous contrail of solar noise and ice particles where ambient breaths of watery melodies get heat-flashed into steam, and software-driven drum programming is savaged by extended processor cycles." Prolific polystylist C-drik and Ukrainian noise artist Kotra provided remixes of "Auditory Arms" and "Parallel Grounds", respectively. Duncan Avoid also lent tracks to Enough Records' "Retork" compilation and the limited edition "FUCK" compilation released on Hive. The project has since been put on an indefinite hiatus.

paragraph: Section::::External links.

paragraph: BULLET::::- Jan Robbe's official site

paragraph: BULLET::::- Duncan Avoid's official site

paragraph: BULLET::::- Jan Robbe's discography

paragraph: BULLET::::- FRAMEofMIND official site

paragraph: BULLET::::- https://store.steampowered.com/app/397690/Hyperspace_Invaders_II_Pixel_Edition/

wikipedia_title: Jan Robbe


text: Hugh Bigod, 1st Earl of Norfolk

text: earldom of Norfolk

text: Henry II

text: Richard I

text: justiciar

text: Revolt of 1173–74

text: Battle of Fornham

text: King John

text: John

text: Magna Carta

text: Henry III

text: Ida de Tosny

text: Hugh Bigod, 3rd Earl of Norfolk

text: Maud

text: William Marshal

text: Marc Morris

text: Aubrey de Vere IV

text: Earl of Oxford

text: consanguinity

text: Ida de Tosny

text: Elizabeth Chadwick

text: Hugh

text: Maud

text: William Marshal

text: King John

text: William Shakespeare

text: Liber Vitae Ecclesiae Dunelmensis

categories: Magna Carta barons,Bigod family,12th-century births,Earls of Norfolk (1141),Male Shakespearean characters,1221 deaths

paragraph: Roger Bigod, 2nd Earl of Norfolk

paragraph: Roger Bigod ( – 1221) was the son of Hugh Bigod, 1st Earl of Norfolk and his first wife, Juliana de Vere. Although his father died 1176 or 1177, Roger did not succeed to the earldom of Norfolk until 1189 for his claim had been disputed by his stepmother for her sons by Earl Hugh in the reign of Henry II. Richard I confirmed him in his earldom and other honours, and also sent him as an ambassador to France in the same year. Roger inherited his father's office as royal steward. He took part in the negotiations for the release of Richard from prison, and after the king's return to England became a justiciar.

paragraph: During the Revolt of 1173–74, Roger remained loyal to the king while his father sided with the king's rebellious sons. Roger fought at the Battle of Fornham on 17 October 1173, where the royalist force defeated a rebel force led by Robert de Beaumont, 3rd Earl of Leicester.

paragraph: In most of the years of the reign of King John, the earl was frequently with the king or on royal business. Yet Roger was to be one of the leaders of the baronial party which obtained John's assent to Magna Carta, and his name and that of his son and heir Hugh II appear among the twenty-five barons who were to ensure the king's adherence to the terms of that document. The pair were excommunicated by the pope in December 1215, and did not make peace with the regents of John's son Henry III until 1217.

paragraph: Around Christmas 1181, Roger married Ida, apparently Ida de Tosny (or Ida de Toesny), and by her had a number of children including:

paragraph: BULLET::::1. Hugh Bigod, 3rd Earl of Norfolk who married in 1206/ 1207, Maud, a daughter of William Marshal

paragraph: BULLET::::2. William Bigod

paragraph: BULLET::::3. Ralph Bigod

paragraph: BULLET::::4. Roger Bigod

paragraph: BULLET::::5. Margery, married William de Hastings

paragraph: BULLET::::6. Mary Bigod, married Ralph fitz Robert

paragraph: Many historians, including Marc Morris have speculated that the couple had a third daughter, Alice, who married Aubrey de Vere IV, Earl of Oxford as his second wife. If so, the marriage would have been well within the bounds of consanguinity, for the couple would have been quite closely related, a daughter of the second earl of Norfolk being first cousin once removed to the second earl of Oxford.

paragraph: Section::::Roger Bigod in fiction.

paragraph: Roger Bigod and his wife Ida de Tosny are the main characters in Elizabeth Chadwick's "The Time of Singing" (Sphere, 2008), published in the USA as "For the King's Favor". They appear as minor characters in other of her books set at the same time, notably "To Defy a King", which concerns the marriage of their son Hugh to Maud, a daughter of William Marshal. As Bigot, Bigod also appears as a character in the play "King John" by William Shakespeare.

paragraph: Section::::References.

paragraph: BULLET::::- Liber Vitae Ecclesiae Dunelmensis, Vol. 13

paragraph: BULLET::::- Morris, Marc. "The Bigod Earls of Norfolk in the Thirteenth Century" (2005)

description: English diplomat and royal steward

wikidata_label: Roger Bigod, 2nd Earl of Norfolk

wikipedia_title: Roger Bigod, 2nd Earl of Norfolk


text: Johann Sebastian Bach

text: contrapuntal

text: Romantic

text: Chopin

text: Liszt

text: Baroque

text: Renaissance

text: modernist

text: Beethoven

text: Mozart

text: Haydn

text: Brahms

text: Jan Pieterszoon Sweelinck

text: Orlando Gibbons

text: William Byrd

text: Paul Hindemith

text: Arnold Schoenberg

text: Richard Strauss

text: studio recording

text: music theory

text: musique concrète

text: Solitude Trilogy

text: Toronto

text: Presbyterians

text: Edvard Grieg

text: anti-Semitism

text: Gold surname

text: historic site

text: perfect pitch

text: decay

text: Hofmann

text: Royal Conservatory of Music

text: music theory

text: Leo Smith

text: Frederick C. Silvester

text: Alberto Guerrero

text: Lake Simcoe

text: tempo

text: Ravel

text: La valse

text: Liszt

text: Fifth

text: Sixth

text: finger-tapping

text: child prodigy

text: Brahms

text: action

text: Artur Schnabel

text: Rosalyn Tureck

text: Leopold Stokowski

text: contrapuntal

text: baroque

text: homophony

text: Mozart

text: Beethoven's

text: 4th Piano Concerto

text: Toronto Symphony

text: CBC

text: Albert Pratz

text: Soviet Union

text: Bach

text: serial music

text: Schoenberg

text: Berg

text: Socialist Realism

text: Peabody Mason Concert

text: Leonard Bernstein

text: anachronism

text: Wilshire Ebell Theater

text: Piano Sonata No. 30

text: The Art of Fugue

text: Paul Hindemith

text: Van Cliburn

text: takes

text: audio engineers

text: Kevin Bazzana

text: Goldberg Variations

text: Otto Friedrich

text: National Library of Canada

text: George Szell

text: Cleveland Orchestra

text: concert of April 6, 1962

text: New York Philharmonic

text: Piano Concerto No. 1 in D minor

text: Harold C. Schonberg

text: Steinway Hall

text: litigation

text: Steinway & Sons

text: liner notes

text: alter ego

text: neurosis

text: psychobiography

text: Fran's Restaurant

text: Bruno Monsaingeon

text: Lukas

text: St. Clair Avenue West

text: high blood pressure

text: analgesic

text: anxiolytic

text: Thorazine

text: reserpine

text: antidepressants

text: autism spectrum

text: bipolar disorder

text: Toronto General Hospital

text: St. Paul's Anglican Church

text: Lois Marshall

text: Maureen Forrester

text: Mount Pleasant Cemetery

text: Humane Society

text: Salvation Army

text: convocation

text: music composition

text: Richard Strauss

text: Anton Webern

text: Dixieland

text: Beatles

text: voice leading

text: Petula Clark

text: Barbra Streisand

text: Bill Evans

text: Conversations with Myself

text: puritan

text: George Santayana

text: 1935 novel of the same name

text: atonal

text: Zeitgeist

text: Haydn

text: music history

text: Han van Meegeren

text: Dutch master

text: Johannes Vermeer

text: radio documentaries

text: tape

text: splicing

text: artistic control

text: fugue

text: The Well-Tempered Clavier

text: Berg's Piano sonata, Op. 1

text: digital recording

text: The Well-Tempered Clavier

text: Partitas

text: French Suites

text: English Suites

text: Inventions and Sinfonias

text: The Art of Fugue

text: piano concertos

text: piano sonatas

text: Liszt's piano transcriptions of Beethoven's symphonies

text: Frédéric Chopin

text: Orlando Gibbons

text: Jean Sibelius

text: Kyllikki

text: Georges Bizet

text: Enoch Arden

text: Claude Rains

text: Piano Sonata in B minor

text: Yehudi Menuhin

text: Elisabeth Schwarzkopf

text: Donald Gramm

text: Ellen Faull

text: six sonatas for violin and harpsichord

text: BWV

text: Jaime Laredo

text: viola da gamba

text: Leonard Rose

text: Julius Baker

text: Rafael Druian

text: Brandenburg Concerto

text: CBC Television

text: CBC Radio

text: musique concrète

text: Solitude Trilogy

text: Newfoundland

text: Mennonite

text: Manitoba

text: Top 40 radio

text: Schubert

text: Bruckner

text: Second Viennese school

text: cadenza

text: Piano Concerto No. 1

text: SATB

text: Christian Science Monitor

text: Saturday Review

text: Montreal Star

text: Schott Music

text: cantata

text: Widerstehe doch der Sünde

text: harpsipiano

text: Gustav Mahler

text: Symphony No. 2

text: Wagner

text: Siegfried Idyll

text: chamber-music

text: Mark Kingwell

text: NASA

text: Voyager Golden Record

text: Carl Sagan

text: Voyager 1

text: heliopause

text: interstellar medium

text: Giorgio Agamben

text: François Girard

text: Genie Award

text: Thirty Two Short Films About Glenn Gould

text: The Loser

text: electronic age

text: Marshall McLuhan

text: Northrop Frye

text: Harold Innis

text: Library and Archives Canada

text: posthumously

text: Canadian Music Hall of Fame

text: Canada's Walk of Fame

text: National Historic Person

text: Glenn Gould Studio

text: Canadian Broadcasting Centre

text: Canadian Museum of Civilization

text: Glenn Gould Foundation

text: Glenn Gould Prize

text: The Glenn Gould School

text: Companion of the Order of Canada

text: Juno Awards

text: Canadian Academy of Recording Arts and Sciences

text: Grammys

text: National Academy of Recording Arts and Sciences

text: Grammy Hall of Fame

text: Gould Estate v Stoddart Publishing Co Ltd

text: List of Canadian composers

text: The Glenn Gould Foundation

text: The Glenn Gould Archive

text: Library and Archives Canada

categories: 20th-century classical composers,Glenn Gould,1982 deaths,Canadian Music Hall of Fame inductees,Canadian classical composers,20th-century classical pianists,Sony Classical Records artists,Canadian classical pianists,Juno Award for Classical Album of the Year – Solo or Chamber Ensemble winners,Canadian people of Scottish descent,Musicians from Toronto,Deaths from cerebrovascular disease,1932 births,Bach musicians,The Royal Conservatory of Music alumni,20th-century Canadian pianists,Canadian people of English descent,Grammy Lifetime Achievement Award winners,Persons of National Historic Significance (Canada)

paragraph: Glenn Gould

paragraph: Glenn Herbert Gould (; 25 September 19324 October 1982) was a Canadian pianist who became one of the best-known and most-celebrated classical pianists of the 20th century. He was renowned as an interpreter of the keyboard works of Johann Sebastian Bach. Gould's playing was distinguished by a remarkable technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music.

paragraph: Gould rejected most of the standard Romantic piano literature by Chopin, Liszt, and others, in favor of Baroque, Renaissance, late-Romantic, and modernist composers. Although his recordings were dominated by Bach and Beethoven, Gould's repertoire was diverse, including works by Mozart, Haydn, Brahms, pre-Baroque composers such as Jan Pieterszoon Sweelinck, Orlando Gibbons and William Byrd, and such 20th-century composers as Paul Hindemith, Arnold Schoenberg, and Richard Strauss. Gould was known for his eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard, to aspects of his lifestyle and behaviour. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.

paragraph: Gould was also a writer, broadcaster, and conductor. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. He performed on television and radio, and produced three "musique concrète" radio documentaries called the "Solitude Trilogy", about isolated areas of Canada.

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life.

paragraph: Glenn Herbert Gould was born at home (32 Southwood Drive) in Toronto, on 25 September 1932, to Russell Herbert Gold (1901–1996) and Florence Emma Gold (née Grieg; 1891–1975), Presbyterians of Scottish and English ancestry. His maternal grandfather was a cousin of the Norwegian composer Edvard Grieg (who was himself of Scottish ancestry). The family's surname was changed to Gould informally around 1939 in order to avoid being mistaken for Jewish, given the prevailing anti-Semitism of pre-war Toronto and the Jewish associations of the Gold surname. Gould had no Jewish ancestry, though he sometimes made jokes on the subject, such as "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war." His childhood home has been named a historic site.

paragraph: Gould's interest in music and his talent as a pianist were evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. His mother, hoping for him to become a successful musician, had exposed him to music during her pregnancy. She would later teach him the piano. As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist". He learned to read music before he could read words, and it had been observed that, at age three, he had perfect pitch. When presented with a piano, the young Gould was reported to strike single notes and listen to their long decay, a practice his father Bert noted was different from typical children. Gould's interest in the piano was concomitant with an interest in composition. He would play his own little pieces for family, friends, and sometimes large gatherings—including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould family home) of one of his own compositions.

paragraph: At the age of six, he was taken for the first time to hear a live musical performance by a celebrated soloist. This profoundly affected him. He later described the experience:

paragraph: It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all "orchestral" sounds, but "I" was playing them all, and suddenly I was Hofmann. I was enchanted.

paragraph: At the age of 10, he began attending the Royal Conservatory of Music in Toronto (known until 1947 as the Toronto Conservatory of Music). He studied music theory with Leo Smith, the organ with Frederick C. Silvester, and piano with Alberto Guerrero. Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of Lake Simcoe. This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard. He used this famous chair for the rest of his life and took it with him almost everywhere. The chair was designed so that Gould could sit very low at the keyboard, and allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero.

paragraph: Gould developed a technique that enabled him to choose a very fast tempo while retaining the "separateness" and clarity of each note. His extremely low position at the instrument permitted him more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel's "La valse", and Liszt's transcriptions of Beethoven's Fifth and Sixth Symphonies. Gould worked from a young age with Guerrero on a technique known as finger-tapping: a method of training the fingers to act more independently from the arm.

paragraph: Gould passed his final Conservatory examination in piano at the age of 12, achieving the highest marks of any candidate, and thus attaining professional standing as a pianist at that age. One year later he had passed the written theory exams, qualifying for an Associate of the Toronto Conservatory of Music (ATCM) diploma.

paragraph: Section::::Life.:Pianism.

paragraph: Gould was a child prodigy and was described in adulthood as a musical phenomenon. He claimed to have almost never practiced on the piano itself, preferring to study repertoire by reading, another technique he had learned from Guerrero. His manual practicing focused on articulation, rather than facility. He may have spoken ironically about his practicing as there is evidence that, on occasion, he did practice quite hard, sometimes using his own drills and techniques.

paragraph: He stated that he did not understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day. It seems that Gould was able to practice mentally without access to an instrument, once going so far as to prepare for a recording of Brahms' piano works without playing them until only a few weeks before the sessions. Gould could play from memory not just a vast repertoire of piano music, but also a wide range of orchestral and operatic transcriptions. He could "memorize at sight" and once challenged his friend John Roberts to name any piece of music that he could not "instantly play from memory".

paragraph: The piano, Gould said, "is not an instrument for which I have any great love as such... [but] I have played it all my life, and it is the best vehicle I have to express my ideas." In the case of Bach, Gould noted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."

paragraph: As a teenager, Gould was significantly influenced by Artur Schnabel, Rosalyn Tureck's recordings of Bach (which he called "upright, with a sense of repose and positiveness"), and the conductor Leopold Stokowski. Gould was known for having a vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outrightly eccentric. His pianism had great clarity and erudition, particularly in contrapuntal passages, and extraordinary control. Gould believed the piano to be "a contrapuntal instrument," and his whole approach to music was, in fact, centered in the baroque. Much of the homophony that followed he felt belongs to a less serious and less spiritual period of art.

paragraph: Gould had a pronounced aversion to what he termed "hedonistic" approaches to piano repertoire, performance, and music generally. For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career. He associated this drift towards hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.

paragraph: Section::::Life.:Performances.

paragraph: On 5 June 1938, at the age of five, Gould played in public for the first time, joining his family on stage to play piano at a church service at the Business Men's Bible Class in Uxbridge, Ontario, in front of a congregation of about two thousand. In 1945, at the age of thirteen, he made his first appearance with an orchestra in a performance of the first movement of Beethoven's 4th Piano Concerto with the Toronto Symphony. His first solo recital followed in 1947, and his first recital on radio was with the CBC in 1950. This was the beginning of Gould's long association with radio and recording. He founded the Festival Trio chamber group in 1953 with the cellist Isaac Mamott and the violinist Albert Pratz.

paragraph: In 1957, Gould undertook a tour of the Soviet Union, becoming the first North American to play there since World War II. His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series. On 31 January 1960, Gould made his American television debut on CBS's "Ford Presents" series, performing Bach's Keyboard Concerto No. 1 in D minor (BWV 1052) with Leonard Bernstein conducting the New York Philharmonic.

paragraph: Gould was convinced that the institution of the public concert was not only an anachronism, but also a "force of evil", leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or not meeting critical expectation. He set forth this doctrine, only half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds. On 10 April 1964, Gould gave his last public performance, playing in Los Angeles, at the Wilshire Ebell Theater. Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's "The Art of Fugue", and Paul Hindemith's Piano Sonata No. 3. Gould performed fewer than 200 concerts over the course of his career, of which fewer than 40 were outside Canada. For a pianist such as Van Cliburn, 200 concerts would have amounted to about two years' touring.

paragraph: One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone". There, he could control every aspect of the final musical "product" by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.

paragraph: Section::::Life.:Eccentricities.

paragraph: Gould was widely known for his unusual habits. He often hummed or sang while he played, and his audio engineers were not always successful in excluding his voice from recordings. Gould claimed that his singing was unconscious and increased in proportion to his inability to produce his intended interpretation from a given piano. It is likely that this habit originated in his having been taught by his mother to "sing everything that he played", as his biographer Kevin Bazzana puts it. This became "an unbreakable (and notorious) habit". Some of Gould's recordings were severely criticised because of this background "vocalising". For example, a reviewer of his 1981 re-recording of the "Goldberg Variations" opined that many listeners would "find the groans and croons intolerable". Gould was renowned for his peculiar body movements while playing and for his insistence on absolute control over every aspect of his environment. The temperature of the recording studio had to be precisely regulated. He invariably insisted that it had to be extremely warm. According to another of Gould's biographers, Otto Friedrich, the air-conditioning engineer had to work just as hard as the recording engineers.

paragraph: The piano had to be set at a certain height and would be raised on wooden blocks if necessary. A small rug would sometimes be required for his feet underneath the piano. He had to sit exactly fourteen inches above the floor, and would play concerts only while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through. His chair is so closely identified with him that it is shown in a place of honour in a glass case at the National Library of Canada.

paragraph: Conductors had mixed responses to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius." Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him." Bernstein created a stir at the concert of April 6, 1962 when, just before the New York Philharmonic was to perform the Brahms Piano Concerto No. 1 in D minor with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the bossthe soloist or the conductor?", to which the audience laughed. "The answer is, of course, sometimes the one and sometimes the other, depending on the people involved." Specifically, Bernstein was referring to their rehearsals, with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by Harold C. Schonberg, music critic for "The New York Times", as an abdication of responsibility and an attack on Gould. Plans for a studio recording of the performance came to nothing. The live radio broadcast was subsequently released on CD, Bernstein's disclaimer included.

paragraph: Gould was averse to the cold, and wore heavy clothing (including gloves), even in warm places. He was once arrested, having possibly been mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coats, hat and mittens. He also disliked social functions. He hated being touched, and in later life limited personal contact, relying on the telephone and letters for communication. On a visit to Steinway Hall in New York City in 1959, Gould was greeted by the chief piano technician at the time, William Hupfer, with a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of the incident. He went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent. He was known for cancelling performances at the last minute, which is why Bernstein's aforementioned public disclaimer opened with, "Don't be frightened, Mr. Gould is here... [he] will appear in a moment."

paragraph: In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, and didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist Karlheinz Klopweisser, the English conductor "Sir Nigel Twitt-Thornwaite", and the American critic Theodore Slutz. These facets of Gould, whether interpreted as neurosis or "play", have provided ample material for psychobiography. Fran's Restaurant in Toronto was a regular haunt of Gould's. A CBC profile noted, "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs." In a letter to the cellist Virginia Katims of 20 January 1973, Gould said he had been vegetarian for about ten years.

paragraph: Section::::Life.:Personal life.

paragraph: Gould lived a private life. The documentary filmmaker Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly." He never married, and biographers have spent considerable time on his sexuality. Bazzana writes that "it is tempting to assume that Gould was asexual, an image that certainly fits his aesthetic and the persona he sought to convey, and one can read the whole Gould literature and be convinced that he died a virgin"—but he also mentions that evidence points to "a number of relationships with women that may or may not have been platonic and ultimately became complicated and were ended".

paragraph: One piece of evidence arrived in 2007. When Gould was in Los Angeles in 1956, he met Cornelia Foss, an art instructor, and her husband Lukas, a conductor. After several years, Gould and she became lovers. She left her husband in 1967 for Gould, taking her two children with her to Toronto. She purchased a house near Gould's 110 St. Clair Avenue West apartment. In 2007, Foss confirmed that she and Gould had had a love affair lasting several years. According to Foss, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould, alluding to unusual behaviour that was more than "just neurotic". Specifically he believed that "someone was spying on him", according to Foss's son.

paragraph: Section::::Life.:Health and death.

paragraph: Though he was an admitted hypochondriac, Gould suffered many pains and ailments; his autopsy, however, revealed few underlying problems in areas that often troubled him. He was highly concerned about his health throughout his life, worrying about everything from high blood pressure (which in his later years he recorded in diary form) to the safety of his hands. (Gould rarely shook people's hands, and habitually wore gloves.) The spine injury he had suffered early in life led to physicians prescribing, usually independently, an assortment of analgesics, anxiolytics, and other drugs. Bazzana has speculated that Gould's increasing use of a variety of prescription medicines over his career may have had a deleterious effect on his health. It had reached the stage, Bazzana writes, that "he was taking pills to counteract the side effects of other pills, creating a cycle of dependency". According to Peter Goddard, in 1955, Gould said, "my hysteria about eating...it's getting worse all the time." In 1956, he was also taking Thorazine, an anti-psychotic medication, as well as reserpine, another anti-psychotic, but one that can also be used to lower blood pressure. Cornelia Foss has said that Gould took a lot of antidepressants, which she blamed for his deteriorating mental state.

paragraph: Whether Gould's behaviour fell within the autism spectrum has been the subject of debate. The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book "Glenn Gould: The Ecstasy and Tragedy of Genius". There has also been speculation that he may have had bipolar disorder, because he sometimes went several days without sleep, had extreme increases in energy, drove recklessly, and, in later life, endured deep depressive episodes.

paragraph: On 27 September 1982, two days after his 50th birthday, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital, and his condition rapidly deteriorated. By 4 October, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support. Gould's public funeral was held in St. Paul's Anglican Church on 15 October with singing by Lois Marshall and Maureen Forrester. The service was attended by over 3,000 people, and was broadcast on the CBC. He is buried next to his parents in Toronto's Mount Pleasant Cemetery (section 38, row 1088, plot 1050). The first few bars of the "Goldberg Variations" are carved on his grave marker. Gould, an unabashed animal-lover, left half his estate to the Humane Society in Toronto; the other half went to the Salvation Army.

paragraph: Section::::Perspectives.

paragraph: Section::::Perspectives.:Writings.

paragraph: Gould is reported to have "periodically told interviewers that if he had not been a pianist, he would have been a writer". He expounded his criticism and philosophy of music and art in lectures, convocation speeches, periodicals, and in radio and television documentaries for the CBC. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen to be as much off-the-cuff discussions as they are works proper. Gould's writing style was highly articulate, but sometimes florid, indulgent, and rhetorical. This is especially evident in his (frequent) attempts at humour and irony. Bazzana writes that although some of Gould's "conversational dazzle" found its way into his prolific written output, his writing was "at best uneven [and] at worst awful". While offering "brilliant insights" and "provocative theses", Gould's writing is often marred by "long, tortuous sentences" and a "false formality", Bazzana writes.

paragraph: In his writing, Gould praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave analyses of the music of Richard Strauss, Alban Berg and Anton Webern. Despite a certain affection for Dixieland jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized the Beatles for "bad voice leading"—while praising Petula Clark and Barbra Streisand. Gould and jazz pianist Bill Evans were mutual admirers, and Evans made his seminal record "Conversations with Myself" using Gould's celebrated Steinway model CD 318 piano.

paragraph: Section::::Perspectives.:On art.

paragraph: Gould's perspective on art is often summed up by this 1962 quote: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."

paragraph: Gould referred to himself repeatedly as "the last puritan", a reference to the philosopher George Santayana's 1935 novel of the same name. Weighing this statement against Gould's highly individualistic lifestyle and artistic vision leads to an apparent contradiction. He was progressive in many ways, promulgating the atonal composers of the early 20th century, and anticipating, through his deep involvement with the recording process, the vast changes that technology would have on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers, this way:

paragraph: He was progressive and anti-progressive at once, and likewise at once both a critic of the "Zeitgeist" and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.

paragraph: Section::::Perspectives.:Technology.

paragraph: The issue of "authenticity" in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or "direct" for having been highly refined by technical means in the studio. Gould likened his process to that of a film director—one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different. He went so far as to conduct an experiment with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points based on their relationship to music, but none was wholly successful. While the test was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".

paragraph: In a lecture and essay titled "Forgery and Imitation in the Creative Process", one of Gould's most significant texts, he makes explicit his views on authenticity and creativity. Gould asks why the epoch in which a work is received influences its reception as "art", postulating a sonata of his own composition that sounds so like one of Haydn's that it is received as such. If, instead, the sonata had been attributed to an earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of music history. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by Han van Meegeren of new paintings attributed to the Dutch master Johannes Vermeer, before and after the forgery was known.

paragraph: Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"

paragraph: Section::::Recordings.

paragraph: Section::::Recordings.:Studio.

paragraph: In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. He held his final public performance in 1964, and thereafter devoted his career to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although Gould's recording studio producers have testified that "he needed splicing less than most performers", Gould used the process to give himself total artistic control over the recording process. He recounted his recording of the A minor fugue from Book I of "The Well-Tempered Clavier" and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.

paragraph: Gould's first commercial recording (of Berg's Piano sonata, Op. 1) came in 1953 on the short-lived Canadian Hallmark label. He soon signed with Columbia Records' classical music division and, in 1955, recorded "", his breakthrough work. Although there was some controversy at Columbia about the appropriateness of this "debut" piece, the record received phenomenal praise and was among the best-selling classical music albums of its era. Gould became closely associated with the piece, playing it in full or in part at many recitals. A new recording of the "Goldberg Variations", made in 1981, would be among his last albums; the piece was one of only a few he recorded twice in the studio. The 1981 release was one of CBS Masterworks' first digital recordings. The 1955 interpretation is highly energetic and often frenetic; the later is slower and more deliberate—Gould wanted to treat the aria and its 30 variations as a cohesive whole.

paragraph: Gould revered J.S. Bach, stating that the Baroque composer was "first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived". He recorded most of Bach's other keyboard works, including both books of "The Well-Tempered Clavier" and the Partitas, French Suites, English Suites, Inventions and Sinfonias, keyboard concertos, and a number of toccatas (which interested him least, being less polyphonic). For his only recording at the organ, he recorded about half of "The Art of Fugue", which was also released posthumously on piano.

paragraph: As for Beethoven, Gould preferred the composer's early and late periods. He recorded all five of Beethoven's piano concertos, 23 of the 32 piano sonatas, and numerous bagatelles and variations. Gould was the first pianist to record any of Liszt's piano transcriptions of Beethoven's symphonies (beginning with the Fifth Symphony, in 1967, with the Sixth released in 1969).

paragraph: Gould also recorded works by Brahms, Mozart, and many other prominent piano composers (with the notable exception of Chopin), though he was outspoken in his criticism of the Romantic era as a whole. He was extremely critical of Frédéric Chopin. When asked in a radio interview if he did not find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment – maybe once a year or twice a year for myself. But it doesn't convince me." However, in 1970, he played the B minor sonata by Chopin for the CBC and stated that he liked some of the miniatures and that he "sort of liked the first movement of the B minor" but never recorded any of Chopin's music.

paragraph: Although he recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them, Gould claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early. He was fond of a number of lesser-known composers such as Orlando Gibbons, whose "Anthems" he had heard as a teenager, and whose music he felt a "spiritual attachment" to. He recorded a number of Gibbons's keyboard works, and called him his favourite composer, despite his better-known admiration for the technical mastery of Bach. He made recordings of piano music by Jean Sibelius (the Sonatines and "Kyllikki"), Georges Bizet (the "Variations Chromatiques de Concert" and the "Premier nocturne"), Richard Strauss (the Piano Sonata, the Five Pieces, and "Enoch Arden" with Claude Rains), and Paul Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of the complete piano works "Lieder" by Arnold Schoenberg. In early September 1982, Gould made his final recording: Strauss's Piano Sonata in B minor.

paragraph: Section::::Recordings.:Collaborations.

paragraph: The success of Gould's collaborations was to a degree dependent upon his collaborators' receptiveness to his sometimes unconventional readings of the music. His television collaboration with Yehudi Menuhin in 1965, in which they played works by Bach, Beethoven and Schoenberg, was called a success by because "Menuhin was ready to embrace the new perspectives opened up by an unorthodox view". His 1966 collaboration with Elisabeth Schwarzkopf, however, recording Richard Strauss's "Ophelia Lieder", Op. 67, was deemed an "outright fiasco". Schwarzkopf believed in "total fidelity" to the score, but she also objected to the temperature, which was to Gould's liking:The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely.He worked with numerous vocalists to record Schoenberg, Hindemith, and Ernst Krenek, including Donald Gramm and Ellen Faull. Gould also recorded Bach's six sonatas for violin and harpsichord (BWV 1014–1019) with Jaime Laredo, and the three sonatas for viola da gamba and keyboard with Leonard Rose. Claude Rains narrated their recording of Strauss's "Enoch Arden" melodrama. Gould also collaborated with members of the New York Philharmonic, the flautist Julius Baker and the violinist Rafael Druian in a recording of Johann Sebastian Bach's Brandenburg Concerto No. 4 in G Major, BWV 1049.

paragraph: Section::::Recordings.:Documentaries.

paragraph: Gould made numerous television and radio programs for CBC Television and CBC Radio. Notable productions include his "musique concrète" "Solitude Trilogy", which consists of "The Idea of North", a meditation on Northern Canada and its people, "The Latecomers", about Newfoundland, and "The Quiet in the Land", about Mennonites in Manitoba. All three use a radiophonic electronic-music technique that Gould called "contrapuntal radio", in which several people are heard speaking at once—much like the voices in a fugue—manipulated through overdubbing and editing. Gould's experience of driving across northern Ontario while listening to Top 40 radio in 1967 provided the inspiration for one of his most unusual radio pieces, "The Search for Petula Clark", a witty and eloquent dissertation on the recordings of the renowned British pop singer, who was then at the peak of her international success.

paragraph: Section::::Transcriptions, compositions, and conducting.

paragraph: Gould was not only a pianist, but also a prolific transcriber of orchestral repertoire for piano. He transcribed his own Wagner and Ravel recordings, as well as the operas of Richard Strauss and the symphonies of Schubert and Bruckner, which he played privately for pleasure.

paragraph: He dabbled in composition with few finished works. As a teenager, Gould had written chamber music and piano works in the style of the Second Viennese school. His only significant work was a string quartet, which he finished when he was in his 20s (published 1956, recorded 1960), and perhaps his cadenzas to Beethoven's Piano Concerto No. 1. Later works include the Lieberson Madrigal (soprano, alto, tenor, bass [SATB] and piano), and "So You Want to Write a Fugue?" (SATB with piano or string-quartet accompaniment). His String Quartet (Op. 1) was met with mixed reaction: the "Christian Science Monitor" and "Saturday Review" were quite laudatory, while the "Montreal Star" was less so. There is little critical commentary on Gould's compositions for the simple reason that there are few of them; he never succeeded beyond Opus 1, and left a number of works unfinished. He attributed his failure as a composer to his lack of a "personal voice". The majority of his work is published by Schott Music. The recording "Glenn Gould: The Composer" contains his original works.

paragraph: Towards the end of his life, Gould began conducting. He had earlier directed Bach's "Brandenburg Concerto No. 5" and the cantata "Widerstehe doch der Sünde" from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound), and Gustav Mahler's Symphony No. 2 (the "Urlicht" section) in the 1960s. His last recording as a conductor was of Wagner's "Siegfried Idyll" in its original chamber-music scoring. He intended to spend his later years conducting, writing about music, and composing.

paragraph: Section::::Legacy and honours.

paragraph: Gould is one of the most acclaimed musicians of the 20th century. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while being highly objectionable to others. Philosopher Mark Kingwell writes that "his influence is made inescapable. No performer after him can avoid the example he sets… Now, everyone must perform "through" him: he can be emulated or rejected, but he cannot be ignored."

paragraph: One of Gould's performances of the Prelude and Fugue in C major from Book II of "The Well-Tempered Clavier" was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc of recordings was placed on the spacecraft "Voyager 1". On August 25, 2012, the spacecraft became the first to cross the heliopause and enter the interstellar medium.

paragraph: Gould is a popular subject of biography and even critical analysis. Philosophers such as Giorgio Agamben and Mark Kingwell have interpreted Gould's life and ideas. References to Gould and his work are plentiful in poetry, fiction, and the visual arts. François Girard's Genie Award winning 1993 film, "Thirty Two Short Films About Glenn Gould" includes documentary interviews with people who knew him, dramatizations of scenes from Gould's life, and fanciful segments including an animation set to music. Thomas Bernhard's renowned 1983 novel "The Loser" purports to be an extended first-person essay about Gould and his lifelong friendship with two fellow students from the Mozarteum school in Salzburg, both of whom have abandoned their careers as concert pianists due to the intimidating example of Gould's genius.

paragraph: Gould left an extensive body of work beyond the keyboard. After his retirement from concert performance, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the electronic age on the consumption of media. (Gould grew up in Toronto at the same time that Canadian theorists Marshall McLuhan, Northrop Frye, and Harold Innis were making their mark on communications studies.) Anthologies of Gould's writing and letters have been published, and Library and Archives Canada holds a significant portion of his papers.

paragraph: In 1983, Gould was posthumously inducted into the Canadian Music Hall of Fame. He was inducted into Canada's Walk of Fame in Toronto in 1998, and designated a National Historic Person in 2012. A federal plaque reflecting the designation was erected next to a sculpture of him in downtown Toronto. The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him. To commemorate what would have been Gould's 75th birthday, the Canadian Museum of Civilization held an exhibition titled "Glenn Gould: The Sounds of Genius" in 2007. The multimedia exhibit was held in conjunction with Library and Archives Canada.

paragraph: Section::::Legacy and honours.:Glenn Gould Foundation.

paragraph: The Glenn Gould Foundation was established in Toronto in 1983 to honour Gould and to keep alive his memory and life's work. The foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future.", and its prime activity is the awarding, triennially, of the Glenn Gould Prize to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of for the recipient, and the responsibility of awarding the Glenn Gould Protégé Prize to a young musician of their choice.

paragraph: Section::::Legacy and honours.:Glenn Gould School.

paragraph: The Royal Conservatory of Music Professional School in Toronto adopted the name The Glenn Gould School in 1997 after their most famous alumnus.

paragraph: Section::::Awards.

paragraph: Gould received many honours both during his lifetime (while claiming to despise competition in music) and posthumously. In 1970, the government of Canada offered him the Companion of the Order of Canada, but he declined, believing himself to be too young.

paragraph: Section::::Awards.:Juno Awards.

paragraph: The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. Gould won three awards out of his six nominations, but accepted only one in person.

paragraph: Section::::Awards.:Grammy Awards.

paragraph: The Grammys are awarded annually by the National Academy of Recording Arts and Sciences. Gould won four awards, but, as with the Junos, accepted only one in person. In 1983, he was honoured posthumously, being inducted into the Grammy Hall of Fame for his 1955 recording (released in 1956) of the "Goldberg Variations".

paragraph: Section::::See also.

paragraph: BULLET::::- "Gould Estate v Stoddart Publishing Co Ltd"

paragraph: BULLET::::- List of Canadian composers

paragraph: Section::::References.

paragraph: Footnotes

paragraph: Section::::Further reading.

paragraph: BULLET::::- "Glenn Gould 1988: [printed explanatory text for] a Travelling Exhibition Prepared by the National Library of Canada and Touring with the Assistance of the International Programme of the Department of Communications". Ottawa, Ont.: National Library of Canada, 1988. "N.B".: Texts in English and in French in parallel columns.

paragraph: Section::::External links.

paragraph: BULLET::::- The Glenn Gould Foundation

paragraph: BULLET::::- The Glenn Gould Archive at Library and Archives Canada

alias:
G. Gūrudo
Guren Gūrudo
Glen Gould
Glenn Herbert Gould
Glen Gold

description: Canadian composer and pianist

enwikiquote_title: Glenn Gould

wikidata_label: Glenn Gould

wikipedia_title: Glenn Gould


text: Medal of Honor

text: American Civil War

text: 19th Massachusetts Volunteer Infantry

text: Lynn, Massachusetts

text: Battle of Gettysburg

text: Battle of Spotsylvania Court House

text: Pine Grove Cemetery

text: Lynn, Massachusetts

categories: 1864 deaths,1824 births,United States Army Medal of Honor recipients,Union Army soldiers,People of Massachusetts in the American Civil War,American Civil War recipients of the Medal of Honor

paragraph: Benjamin Franklin Falls

paragraph: Benjamin Franklin Falls (July 1, 1824 - May 12, 1864) was a Medal of Honor recipient, an honor he received for his actions during the American Civil War.

paragraph: Section::::Biography.

paragraph: Falls joined the 19th Massachusetts Volunteer Infantry from Lynn, Massachusetts in August 1861. He earned the Medal of Honor for his bravery during the third day of the Battle of Gettysburg, on July 3, 1863. He captured the color-bearer and colors of the 19th Virginia. His citation, awarded posthumously on December 1, 1864, simply reads, "capture of flag." He was mortally wounded on May 10, 1864 during the Battle of Spotsylvania Court House, and died two days later.

paragraph: Following his death, he was interred at Pine Grove Cemetery in Lynn, Massachusetts.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients for the Battle of Gettysburg

description: American Civil War Medal of Honor recipient

wikidata_label: Benjamin Franklin Falls

wikipedia_title: Benjamin Franklin Falls


text:
Germany
2010-11
luge World Cup
Winterberg
2013-14
Luge World Cup
Oberhof

wikipedia_title: Winterberg bobsleigh, luge, and skeleton track

wikipedia_title: Oberhof bobsleigh, luge, and skeleton track

categories: German male lugers,1991 births,Living people

paragraph: Julian von Schleinitz

paragraph: Julian von Schleinitz (born September 19, 1991 in Germany) is a German luge athlete who represents his nation in the men's singles luge event in international competition. In 201o he won the junior world championship in the event. During the 2010-11 luge World Cup season he placed third in the event held in Winterberg and during the 2013-14 Luge World Cup season he again placed third in an event, this time in Oberhof.

description: German luger

wikidata_label: Julian von Schleinitz

wikipedia_title: Julian von Schleinitz


text:
Spencer Cowper
Middle Temple
Clerk of the Parliaments
House of Lords
Tewin
DD
Church of St Peter
Hertingfordbury

wikipedia_title:
Spencer Cowper
Middle Temple
Clerk of the Parliaments
House of Lords
Tewin
Doctor of Divinity
Church of St Peter, Great Berkhamsted
Hertingfordbury

paragraph: Henry Cowper (1758–1840)

paragraph: Henry Cowper (1758–1840), was a British lawyer.

paragraph: Section::::Life.

paragraph: He was the third son of General Spencer Cowper, by Charlotte, daughter of John Baber; grandson of William Cowper, clerk of the parliaments 1739–40, and great-grandson of the judge Spencer Cowper (1670–1728). He was called to the bar at the Middle Temple on 26May 1775. From 1785 to 1826 he was Deputy Clerk of the Parliaments and clerk assistant of the House of Lords. He died at Tewin Water, near Tewin, Hertfordshire on 28November 1840. He married his cousin-german, Maria Judith, eldest daughter of the Reverend John Cowper, DD, rector of Church of St Peter but had no issue. By his will he left a sum of money for educating the poor children of Hertingfordbury parish.

paragraph: Section::::References.

paragraph: BULLET::::- Attribution:

description: Cowper, Henry (c.1753–1840), clerk assistant of the House of Lords

wikidata_label: Henry Cowper

wikipedia_title: Henry Cowper (1758–1840)


text:
Kozelets
Ukrainian SSR
Moscow
Russia
State Prize of the Russian Federation
Great Patriotic War
Irkutsk
Maxim Gorky Literature Institute
bard
Moscow Does Not Believe in Tears
Chivalric Romance
Letter of Forty-Two
Boris Yeltsin
First Chechen War

wikipedia_title:
Kozelets
Ukrainian Soviet Socialist Republic
Moscow
Russia
State Prize of the Russian Federation
Eastern Front (World War II)
Irkutsk
Maxim Gorky Literature Institute
Bard
Moscow Does Not Believe in Tears
Chivalric Romance (2000 film)
Letter of Forty-Two
Boris Yeltsin
First Chechen War

categories: State Prize of the Russian Federation laureates,20th-century translators,Russian male poets,Parodists,1922 births,Ukrainian Jews,People from Donetsk,Russian translators,Soviet poets,Russian-language poets,1996 deaths,Russian writers,20th-century Russian male writers,Recipients of the Order of the Patriotic War, 2nd class,Soviet male writers,Male poets,Soviet translators

paragraph: Yuri Levitansky

paragraph: Yury Davidovich Levitansky (; January 22, 1922, Kozelets, Chernigov Oblast, Ukrainian SSR — January 25, 1996, Moscow, Russia) was a poet and translator, a master of lyrical parody of genres, and Laureate of the State Prize of the Russian Federation in the field of literature and art in 1994.

paragraph: Levitansky fought in the Great Patriotic War. Afterwards, his first collection of poems was released in 1948 in Irkutsk. In the years 1955-1957 Levitansky studied in the Higher literary courses at Maxim Gorky Literature Institute. In 1957, he became a member of the Writers' Union. In 1963 he published a collection of poems called "Earthly Heaven", which sprung him into fame as an author.

paragraph: Many of Levitansky's poems were set to music, sung and performed by popular bards. Some of these songs are found in the movies "Moscow Does Not Believe in Tears" and "Chivalric Romance".

paragraph: In 1993 he signed the Letter of Forty-Two.

paragraph: In 1995, at the ceremony of the aforementioned State Prize, Levitansky appealed to then Russian President Boris Yeltsin to halt the First Chechen War.

paragraph: Section::::External links.

paragraph: BULLET::::- Cтихи Юpия Лeвитанскoгo

description: Russian poet and writer

wikidata_label: Yuri Levitansky

wikipedia_title: Yuri Levitansky


href: ukiyo-e Okumura%20Masanobu Genbun beni-e urushi-e yakusha-e kabuki Torii%20school

text:
ukiyo-e
Okumura Masanobu
Genbun
beni-e
urushi-e
yakusha-e
kabuki
Torii school

paragraph: Okumura Toshinobu

paragraph: Okumura Toshinobu (, birth and death dates unknown) was a Japanese ukiyo-e artist. He is the only known student of Okumura Masanobu; many of his works nonetheless appeared from publishers other than Masanobu.

paragraph: The majority of Toshinobu's works come from the Genbun era (1716–1741), and are mostly prints in the "beni-e" ("red picture[s]") and "urushi-e" ("lacquer picture[s]") styles. Many of his works depict people selling things. Toshinobu also made "yakusha-e" portraits of kabuki actors; in contrast to the Torii school, rather than heroics, Toshionobu tended to depict scenes of romance.

alias:
Toshinobu
Toshinobu Okumura

description: Japanese artist

wikidata_label: Okumura Toshinobu

wikipedia_title: Okumura Toshinobu


text:
Torii school
ukiyo-e
Hōreki
An'ei
yakusha-e
kabuki
Kiyonobu II
Kiyomasu II
Torii Kiyotsune

categories: Torii school,Ukiyo-e artists,Year of birth unknown

paragraph: Torii Kiyotsune

paragraph: Torii Kiyotsune (, ) was a Japanese artist of the Torii school of ukiyo-e art.

paragraph: Kiyotsune's birth and death dates are unknown; his personal name was Daijirō, and is believed to have been son of the publisher Nakajimaya Isaemon (). Kiyotsune's work appeared from the end of the Hōreki era (1751–1764) to the end of the An'ei era (1772–1781), a time of great productivity from the Torii school. Kiyotsune produced "yakusha-e" portraits of kabuki actors with rounded linework in a style established by Kiyonobu II and Kiyomasu II.

paragraph: Section::::External links.

paragraph: BULLET::::- Torii Kiyotsune at ukiyo-e.org

description: Japanese artist

wikidata_label: Torii Kiyotsune

wikipedia_title: Torii Kiyotsune