text:
Portuguese
Carnation Revolution
Amares
Braga
Lisbon
Angola
Portuguese Colonial War
London
Portugal
Amsterdam
unisex
camp
Valentim de Carvalho
folk
pop music
Júlio Isidro
Júlio Isidro
Júlio Isidro
Rádio Comercial
fado
Amália Rodrigues
LP
Barcelos
Pulido Valente hospital
bronchitis
Red Cross
AIDS
pneumonia
Estrela Basilica
homosexual
United States
HIV
accordion
cavaquinho
pop
rock
jazz
blues
new wave
folk
fado
synthesizer
Portuguese
classical guitar
Fernando Pessoa
Amália Rodrigues
fado
University of Lisbon
David Bowie
Bryan Ferry
The Kinks
Elvis Presley
The Beatles
GNR
Heróis do Mar
Madredeus
Nuno Galopim
Humanos
João Maia
Humanos
António Variações
A História de António Variações
Humanos

categories: Portuguese songwriters,LGBT singers,1984 deaths,Portuguese hairdressers,Portuguese pop musicians,Portuguese pop singers,1944 births,LGBT people from Portugal,AIDS-related deaths in Portugal,Portuguese male singers,People from Braga,Pop-folk singers,20th-century Portuguese writers,Gay musicians,Portuguese folk musicians,20th-century Portuguese singers,Portuguese folk singers

paragraph: António Variações

paragraph: António Joaquim Rodrigues Ribeiro, (3 December 1944 – 13 June 1984) was a Portuguese singer and songwriter. Despite his short-lived career due to his premature death at the age of thirty-nine, using the stage name of António Variações, he became one of the most culturally significant performing artists of recent Portuguese history. His recorded works blended contemporary music genres with traditional Portuguese rhythms and melodies, creating music which for many is symbolic of the liberalization that occurred in Portuguese society after the Carnation Revolution of 1974. The original and provocative nature of his recorded works has led to him being widely recognized as one of the most innovative artists in the recent history of Portuguese popular music.

paragraph: Section::::Early life.

paragraph: António Variações was born in Lugar do Pilar, a small village in Fiscal (Amares, Braga), the fifth of ten children of Deolinda de Jesus and Jaime Ribeiro. As a child, his love of music often took him away from his fieldwork chores and towards the local folklore celebrations. He completed his basic education at the age of eleven and soon after took up his first job making small trinkets in the neighboring village of Caldelas.

paragraph: At the age of twelve, he moved to the capital, Lisbon, to work at an office. From 1964 to 1967, he served the compulsory army duty in Angola during the Portuguese Colonial War, returning home safe, but almost immediately departing to London, to work as a dishwasher at a school, for the duration of a year. Returning once again to Portugal for a brief time in 1976, António Variações roamed to Amsterdam where he took up hairdressing, which he would continue to practice when returning to Lisbon in the following year, opening the first unisex salon in the country and afterwards a barber shop downtown (among his clients there would be several people from the music industry, who would help launch his career).

paragraph: Parallel to this day job, he started working the local club scene at night, along with a group of musicians dubbed "Variações" (translated, "Variations", a word which suggested the diversity of the singer's influences, sound, and style). His garish visuals and camp fashion accessories, uncommon for a man at the time in Portugal, soon started to become noticed.

paragraph: Section::::Career.

paragraph: Section::::Career.:Signing with Valentim de Carvalho.

paragraph: In 1978, António submitted a demo tape to Valentim de Carvalho, one of the most important record labels in Portugal, but, despite signing a contract, he would not be allowed to record anything for another four years because the executives were unsure about the genre that best suited his work, folk or pop music, and therefore could not come to a consensus as to what should be done with the unusual artist. In February 1981, he appeared with his band in a popular TV show presented by Júlio Isidro, called "Passeio dos Alegres", billed as "António e Variações" and performing two unreleased songs ("Toma o comprimido" and "Não me consumas"). Júlio Isidro was a usual customer of António Variações's barber shop, and at a certain visit, he told him that he wrote songs. As a result, Júlio Isidro invited him to appear in his show. Following this appearance, he would be a guest a few times on "Febre de Sábado de Manhã", a radio show on Rádio Comercial presented by the same host.

paragraph: Section::::Career.:"Anjo da Guarda".

paragraph: In July 1982, his first single was released, this time under the name of António Variações. This recording featured a cover of the seminal fado "Povo Que Lavas No Rio", immortalized by the diva of the genre, Amália Rodrigues, and an original song of his own authorship, "Estou Além", one of his best known songs that would feature in his first LP record. The cover song of the untouchable fado caused controversy among many, but over time became accepted as a heartfelt tribute of Variações to Amália Rodrigues, to whom he dedicated his first LP, "Anjo da Guarda", released in 1983, to great critical and popular acclaim. Two of the songs from this release, "O Corpo É Que Paga" and "É P'ra Amanhã" experienced frequent radio airplay, the latter being released as a Summer single.

paragraph: Section::::Career.:"Dar & Receber".

paragraph: After a series of concerts, António returned to the studio and, between the 6 and 25 February 1984, recorded his second and final LP, entitled "Dar & Receber", which would be released in May of the same year and received once again with great enthusiasm on all fronts (having in the song "Canção de Engate" one of the artist's biggest hits). Two months later, he would perform his last concert in the Portuguese parish of Viatodos (part of the municipality of Barcelos), during the festival of "Feira da Isabelinha". In April he would make his last public appearance at the television show "A Festa Continua", hosted by Júlio Isidro.

paragraph: Section::::Death.

paragraph: On 18 May 1984 Variações was admitted to the Pulido Valente hospital with symptoms of asthmatic bronchitis and later transferred to the Red Cross Clinic. At the time, the health of the artist was severely debilitated and rumours about his condition being brought on by AIDS started to circulate, which, given the prejudice towards the disease at the time, made him a target of some discrimination. Save for his family and closest friends, he received few visitors during his stay at the hospital. In June, the press released news that his health state had deteriorated considerably.

paragraph: At dawn on 13 June António Variações died due to a bilateral bronchial pneumonia. His funeral was held on 15 June at the Estrela Basilica, where family, friends, fellow musicians, barbers, and fans paid their last respects. The funeral stirred some controversy because the authorities ordered that his coffin be sealed for public health concerns, which further fueled the rumors that he had died as a result of AIDS-related complications. The family of António Variações doesn't acknowledge that this was the actual cause of death (or that he was a homosexual), but it is assumed by most that he was one of the first public victims of the disease in Portugal. His former manager, Teresa Couto Pinto, has claimed that, prior to his death, Variações had received clinical test results performed in the United States confirming that he was indeed HIV-positive. His remains were buried in the cemetery of Amares, where they still rest today.

paragraph: Section::::Musical style.

paragraph: António Variações had no formal music training. His first musical influence was his father, who played accordion and cavaquinho, but never had the chance to become a serious musician. From his travels abroad, Variações was able to get in touch with artists and genres which were not widely known back home and began fusing genres such as pop, rock, jazz, blues and new wave with his Portuguese folk and fado roots.

paragraph: Not knowing how to play or compose music did not stop António from making music by himself. He would, using a tape recorder, mimicking sounds and rhythms while he sang, using his own voice or even tapping his hands on different objects. These recordings were then used by his supporting studio musicians as the basis for the song arrangements. Variações' music is characterized by the use of a variety of instruments, ranging from synthesizers, to Portuguese and classical guitars, to accordions and more. Defying genre definition, he created his own description for his sound: something between Braga and New York, reflecting the cosmopolitan, yet down to earth and rural aspect of his eclectic style. He was intent on becoming a popular artist in the true sense of the word and he managed to reach audiences which were very diverse, from the blue collar to the white collar workers, to the uneducated and the intellectuals, to young and old alike.

paragraph: Section::::Musical style.:Lyrics.

paragraph: Despite having only the minimum education (at the time, four years of basic instruction, although he also attended night school classes in Lisbon for some time) and no music training, Variações had a deep sense of rhythm and a keen mastery of the written word. Variações' lyrics are often a mix of proverbs, popular wisdom, and personal experiences and he had a notable ability to spin commonplaces into original and compelling imagery. This popular character of his words made it easy for most of his listeners to identify with the themes of the songs, which often speak about restlessness, feelings of escapism or the deceitful nature of love affairs. A few of his songs have an autobiographical resonance (such as "Olhei P'ra Trás", where he describes the sorrowful but hopeful departure from his small village or "Deolinda de Jesus", dedicated to his mother).

paragraph: Section::::Musical style.:Influences.

paragraph: António Variações was a fervent admirer of the Portuguese poet Fernando Pessoa (dedicating the LP "Dar & Receber" to Pessoa, in a cryptically unfinished sentence, and using one of his poems on the song "Canção") and some of his lyrics share similarities with the feelings expressed on some of Pessoa's poems. Another of the artist's major influences was Amália Rodrigues, a fado singer of international renown. Apart from dedicating his first LP to her and covering one of her songs, he also wrote an ode to the singer, recorded as the song "Voz-Amália-de-Nós", in which he sings "All of us have Amália in our voice and we have in her voice the voice of all of us" (Amália Rodrigues is a Portuguese national icon). Both artists would only meet on stage once, a concert at the Aula Magna of the University of Lisbon, on 26 May 1983. Amália paid back homage to António by attending his funeral celebration.

paragraph: From his extensive travels abroad, he got acquainted with the work of foreign artists like David Bowie, Bryan Ferry, The Kinks, Elvis Presley and The Beatles. This encounter with a different musical culture left a deep impression on him; a testament to this is the fact that his first song experiments were written in English (although he soon abandoned this approach, in search of a more authentic and personal style of writing, in Portuguese).

paragraph: Section::::Musical style.:Collaborators.

paragraph: Because Variações did not have the knowledge to properly compose music by himself, collaboration with other musicians at the writing, recording and producing stages was necessary. He would first collaborate with the musicians Vítor Rua, Tóli César Machado (both from the band GNR) and José Moz Carrapa on his first LP, "Anjo da Guarda", and then with Pedro Ayres Magalhães and Carlos Maria Trindade, at the time, part of the band Heróis do Mar (and later, Madredeus) on the recording of "Dar & Receber". The five members of Heróis do Mar acted as António's studio band; they would become close to Variações, especially Pedro Ayres Magalhães, who speaks fondly of him on the liner notes of "Dar & Receber": "I thank you António, for your enthusiasm and trust, and I would like to write here that I've gained a friendship".

paragraph: Section::::Humanos.

paragraph: At the time of his death, Variações left behind a box containing over forty tapes and studio reels, which were forgotten for a long time, at first in the possession of his brother, Jaime Ribeiro. These were then kept for over ten years by David Ferreira at EMI-Valentim de Carvalho, until journalist Nuno Galopim took up the enterprise of listening to and transcribing them, which would become the beginning of the musical project known as Humanos.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Lifetime releases.

paragraph: BULLET::::- Singles

paragraph: BULLET::::- 1982 - "Povo Que Lavas No Rio"/"Estou Além"

paragraph: BULLET::::- 1983 - "É P'ra Amanhã..."/"Quando Fala Um Português..."

paragraph: BULLET::::- LPs

paragraph: BULLET::::- 1983 - "Anjo da Guarda"

paragraph: BULLET::::- 1984 - "Dar & Receber"

paragraph: Section::::Discography.:Posthumous releases and remasterings.

paragraph: BULLET::::- Singles

paragraph: BULLET::::- 1997 - "Canção de Engate"

paragraph: BULLET::::- 1997 - "O Corpo É Que Paga"/"É P'ra Amanhã..." (remixed by Nuno Miguel)

paragraph: BULLET::::- 1998 - "Minha cara sem fronteiras - entre Braga e Nova Iorque"

paragraph: BULLET::::- Albums

paragraph: BULLET::::- 1997 - "O Melhor de António Variações" (best-of)

paragraph: BULLET::::- 1998 - "Anjo da Guarda" (third studio album, includes the bonus track "Povo que lavas no rio")

paragraph: BULLET::::- 2000 - "Dar & Receber" (fourth studio album, includes three versions (two of which are remixes) of "Minha cara sem fronteiras")

paragraph: BULLET::::- 2006 - "A História de António Variações - entre Braga e Nova Iorque" (best-of which includes previously unreleased demos)

paragraph: Section::::Discography.:Tributes.

paragraph: BULLET::::- Cover songs

paragraph: BULLET::::- 1987 - Delfins - Canção de Engate

paragraph: BULLET::::- 1995 - Amarguinhas - Estou Além

paragraph: BULLET::::- 1995 - Íris - Estou Além

paragraph: BULLET::::- 1996 - MDA - Dar & Receber

paragraph: BULLET::::- 1996 - MDA - Estou Além

paragraph: BULLET::::- 1997 - Isabel Sivestre - Deolinda de Jesus

paragraph: BULLET::::- 2004 - Donna Maria - Estou Além

paragraph: BULLET::::- 2004 - Funkoffandfly - Dar e receber

paragraph: BULLET::::- 2005 - RAMP - Anjinho da Guarda

paragraph: BULLET::::- 2008 - André Sardet - Anjinho da Guarda

paragraph: BULLET::::- 2012 - Tiago Bettencourt - Canção de Engate

paragraph: BULLET::::- 2013 - Dead Combo & Márcia - Visões Ficções

paragraph: BULLET::::- 2014 - OqueStrada - Parei na Madrugada [inedit song]

paragraph: BULLET::::- 2016 - Telmo Pires - Ao passar por Braga abaixo [inedit song]

paragraph: BULLET::::- 2017 - Filipe Catto - Canção de Engate

paragraph: BULLET::::- 2017 - União das Tribos feat. Miguel Ângelo - Canção de Engate

paragraph: BULLET::::- 2017 - The Beheaded - Canção de Engate

paragraph: BULLET::::- Albums

paragraph: BULLET::::- 1989 - Lena D'Água - Tu Aqui [5 inedit songs of Variações]

paragraph: BULLET::::- 1994 - Variações - As canções de António

paragraph: BULLET::::- 2004 - Humanos - Humanos [inedit songs of Variações]

paragraph: BULLET::::- 2006 - Humanos - Humanos ao Vivo - [1 CD + 2 DVD, inedit songs of Variações]

paragraph: Section::::Variações (film).

paragraph: A biographical movie about António Variações is currently in post-production. The script was written by film director João Maia and it´s a Production by David & Golias .

paragraph: Section::::See also.

paragraph: BULLET::::- Humanos

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Gonzaga, Manuela; "António Variações: Entre Braga e Nova Iorque"; Âncora Editora; 2006;

paragraph: BULLET::::- Variações, António; "Muda de Vida"; Relógio de Água Editores; 2006;

paragraph: Section::::External links.

paragraph: BULLET::::- António Variações (Official site)

paragraph: BULLET::::- A História de António Variações (Official site of the album)

paragraph: BULLET::::- Humanos (Official site of the project)

description: singer-songwriter

wikidata_label: António Variações

wikipedia_title: António Variações


text:
Battle of Towton
earldom of Westmorland
Sir John Neville
Ralph Neville, 1st Earl of Westmorland
Margaret de Stafford
Thomas Holland, 2nd Earl of Kent
Alice FitzAlan
Ralph Neville, 2nd Earl of Westmorland
Brancepeth
Durham
Bedfordshire
Ralph Neville, 2nd Earl of Westmorland
Lady Elizabeth Percy
John Holland, 2nd Duke of Exeter
Edmund Stafford, 5th Earl of Stafford
Edmund Mortimer, 5th Earl of March
Ralph Neville, 3rd Earl of Westmorland
Lord Neville
Richard Plantagenet, 3rd Duke of York
Lancastrian
Battle of Wakefield
Richard Neville, 5th Earl of Salisbury
Middleham Castle
Sheriff Hutton Castle
Battle of Ferrybridge
Battle of Towton
attainder
Ralph Neville
James Douglas, 9th Earl of Douglas
Blackfriars, London

categories: Barons in the Peerage of England,People of the Wars of the Roses,1461 deaths,Year of birth unknown,English military personnel killed in action

paragraph: John Neville, Baron Neville

paragraph: John Neville, Baron Neville (c. 1410 – 29 March 1461) was an English nobleman and soldier, slain at the Battle of Towton. His son succeeded to the earldom of Westmorland.

paragraph: Section::::Family.

paragraph: John Neville was born about 1410, the second son of Sir John Neville (d. 1420), eldest son of Ralph Neville, 1st Earl of Westmorland, from his first marriage to Margaret de Stafford, and Elizabeth Holland (c. 1388 – 3 or 4 January 1423), fifth daughter of Thomas Holland, 2nd Earl of Kent and Alice FitzAlan (d. 17 March 1416).

paragraph: He had two brothers, Ralph Neville, 2nd Earl of Westmorland, and Sir Thomas Neville (died c. 1461) of Brancepeth, Durham, and one sister, Margaret, who married Sir William Lucy of Woodcroft, Bedfordshire.

paragraph: Sometime before 5 February 1442 Neville married Anne Holland, widow of his nephew, Sir John Neville (d. shortly before 16 March 1450), the son of Ralph Neville, 2nd Earl of Westmorland and his first wife, Lady Elizabeth Percy. Anne Holland was the daughter of John Holland, 2nd Duke of Exeter by his first wife, Anne Stafford, the daughter of Edmund Stafford, 5th Earl of Stafford and the widow of Edmund Mortimer, 5th Earl of March. John Neville and Anne Holland had one son, Ralph Neville, 3rd Earl of Westmorland.

paragraph: Section::::Life account.

paragraph: According to Cokayne, John Neville was summoned to Parliament 20 November 1459 and 30 July 1460 by special writs directed to "Iohanni Nevill, Domino de Nevill", whereby he is held to have become Lord Neville. In another writ of 20 January 1461, attested only by the Council, he is referred to as 'Sir John Neville of Neville'. He was absent from the Parliament at which Richard Plantagenet, 3rd Duke of York, proclaimed himself King.

paragraph: Originally a supporter of the Duke of York, Neville went over to the Lancastrian side just before the Battle of Wakefield. York gave battle, thinking Neville would arrive to reinforce him, but being attacked instead was defeated and slain. Neville's half-uncle, Richard Neville, 5th Earl of Salisbury, was killed shortly after the battle, and by his testament Neville became Constable of Middleham Castle and Sheriff Hutton Castle.

paragraph: He was one of the Lancastrian commanders at the Battle of Ferrybridge, and was slain shortly thereafter at the Battle of Towton. The barony was forfeited by attainder on 4 November 1461, and Neville's lands escheated to the crown, leaving his widow, according to Cokayne, 'sadly unprovided for'. Neville's son and heir, Ralph Neville, obtained a reversal of the attainder on 6 October 1472.

paragraph: After Neville's death his widow, Anne, married James Douglas, 9th Earl of Douglas (d. shortly after 22 May 1491), but had no issue by him. She died 26 December 1486, and was buried at St. Anne's in the Blackfriars, London.

description: English Baron, died 1461

wikidata_label: John Neville, Baron Neville

wikipedia_title: John Neville, Baron Neville


text: CBE

text: PC

text: DL

text: British

text: Welsh Guards

text: Second World War

text: brigadier

text: George Lynskey

text: Godfrey Vick

text: Lynskey tribunal

text: Privy Council

text: Lord Justice of Appeal

text: Lord of Appeal in Ordinary

text: life peer

text: Essex

text: Lord of Appeal in Ordinary

text: Boardman v Phipps

text: Vandervell v IRC

text: In re Gulbenkian's Settlements

text: House of Lords

text: Kennedy v Spratt

text: Lord Reid

text: Lord Diplock

text: Lord Reid

text: Lord Upjohn

text: Eaves v.Eaves

text: Re Diplock

text: Ministry of Health v Simpson

text: Hong Kong Fir v Kawasaki

text: In Re Pauling's Settlement Trusts

text: Practice Statement (Judicial Precedent)

text: Boardman v Phipps

text: Vandervell v IRC

text: Beswick v Beswick

text: The Heron II

text: In re Gulbenkian's Settlements

text: Pettitt v. Pettitt

text: Redland Bricks Ltd. v. Morris

text: Bushell v Faith

categories: Welsh Guards officers,Law lords,1903 births,Members of the Judicial Committee of the Privy Council,Members of the Privy Council of the United Kingdom,Commanders of the Order of the British Empire,1971 deaths,British Army personnel of World War II

paragraph: Gerald Upjohn, Baron Upjohn

paragraph: Gerald Ritchie Upjohn, Baron Upjohn, CBE, PC, DL (25 February 1903 – 27 January 1971) was a British soldier and judge.

paragraph: The younger son of William Henry Upjohn served in the Welsh Guards during the Second World War, reaching the rank of brigadier. In 1948, he sat with Sir George Lynskey and Sir Godfrey Vick on the Lynskey tribunal. Appointed to the Privy Council in 1960, he was Lord Justice of Appeal from 1960 to 1963. On 26 November 1963 he became a Lord of Appeal in Ordinary and was made additionally a life peer by the style title Baron Upjohn, of Little Tey in the County of Essex.

paragraph: While a Lord of Appeal in Ordinary he contributed to a number of significant cases. Three cases of particular importance are Boardman v Phipps [1967] 2 AC 46 (giving a powerful dissent), Vandervell v IRC [1967] 2 AC 291 (where he gave a majority speech) and In re Gulbenkian's Settlements [1970] AC 508.

paragraph: An interesting problem arose on Lord Upjohn's death. The Judicial Committee of the House of Lords would ideally sit with an odd number of judges, to ensure a clear decision. Lord Upjohn's death raised the problem of an equally divided Appellate Committee. Kennedy v Spratt [1971] 2 WLR 667 remained on the docket and Lord Upjohn had already prepared a speech, intending to vote with Lord Reid and Lord Diplock, dismissing the appeal. Lord Reid read Lord Upjohn's speech as a part of his own and in accordance with the presumption in favour of the status quo (semper pracsumitur pro negante), the appeal was dismissed. It has been pointed out that, 'had Lord Upjohn been in favour of allowing the appeal, the application of the principle

paragraph: would have produced a disgruntled appellant whose victory had been snatched from under his nose: it may well be that such manifest injustice would have led to the case being reargued before a reconstituted court.'

paragraph: Section::::Notable Cases.

paragraph: Section::::Notable Cases.:As Counsel.

paragraph: Eaves v.Eaves [1939] Ch. 1000

paragraph: Re Diplock [1948] Ch. 465

paragraph: Ministry of Health v Simpson [1951] A.C. 251

paragraph: Section::::Notable Cases.:As Upjohn J.

paragraph: Copeland v Greenhalf [1952] Ch 488

paragraph: Thompson (WL) Ltd v Robinson (Gunmakers) Ltd, [1955] Ch 177

paragraph: Merricks v. Heathcote Amory [1955] Ch. 567

paragraph: Section::::Notable Cases.:In the Court of Appeal.

paragraph: BULLET::::- "Hong Kong Fir v Kawasaki" [1962] 2 QB 26;

paragraph: BULLET::::- "In Re Pauling's Settlement Trusts" [1964] Ch. 303

paragraph: BULLET::::- "Car and Universal Finance Co Ltd v Caldwell" [1965] 1 QB 525

paragraph: BULLET::::- "Boulting v Association of Cinematograph, Television and Allied Technicians" [1963] 2 QB 606

paragraph: Section::::Notable Cases.:In the Privy Council.

paragraph: Paradise Beach and Transportation Co Ltd v Price-Robinson [1968] AC 1072

paragraph: Section::::Notable Cases.:In the House of Lords.

paragraph: Practice Statement (Judicial Precedent) [1966] 1 WLR 1234

paragraph: Suisse Atlantique Societe d'Armament SA v NV Rotterdamsche Kolen Centrale [1967] 1 A.C. 361

paragraph: Boardman v Phipps [1967] 2 AC 46

paragraph: Vandervell v IRC [1967] 2 AC 291

paragraph: Beswick v Beswick [1968] AC 58

paragraph: C Czarnikow Ltd v Koufos or The Heron II [1969] 1 AC 350

paragraph: Pettitt v. Pettitt [1970] A.C. 777

paragraph: Redland Bricks Ltd. v. Morris [1970] A.C. 652

paragraph: BULLET::::- "Bushell v Faith" [1970] AC 1099

description: British Baron

wikidata_label: Gerald Upjohn, Baron Upjohn

wikipedia_title: Gerald Upjohn, Baron Upjohn


text:
Buenos Aires
Argentine
screenwriter
Argentine cinema
Oscar Wilde
The Importance of Being Earnest
Al compás de tu mentira
Alias Flequillo
Fernando Ayala
El Profesor Hippie
The Beautiful Brummel
The Age of Love
Rebel Without a House
Cleopatra Was Candida

categories: 1995 deaths,1915 births,Argentine male writers,Male screenwriters,Argentine screenwriters,People from Buenos Aires

paragraph: Abel Santa Cruz

paragraph: Abel Santa Cruz (1915 – February 4, 1995, in Buenos Aires) was a major Argentine screenwriter who is credited for writing nearly 130 films spanning seven decades of Argentine cinema.

paragraph: Santa Cruz first wrote the script for a film "Un Señor mucamo" in 1940 but it was not until ten years later in 1950 that his career had a breakthrough with his adaptation of the Oscar Wilde play, The Importance of Being Earnest in "Al compás de tu mentira".

paragraph: In 1963 he wrote the script to the gangster comedy "Alias Flequillo".

paragraph: Although Abel died in 1995 his legendary work in film writing has since transcended to television with some 10 different TV credits in over a decade since his death.

paragraph: In 1969 he wrote the script to the Fernando Ayala film "El Profesor Hippie".

paragraph: Section::::Selected filmography.

paragraph: BULLET::::- "The Beautiful Brummel" (1951)

paragraph: BULLET::::- "The Age of Love" (1954)

paragraph: BULLET::::- "Rebel Without a House" (1960)

paragraph: BULLET::::- "Cleopatra Was Candida" (1964)

description: Argentine screenwriter

wikidata_label: Abel Santa Cruz

wikipedia_title: Abel Santa Cruz


text:
bass guitar
tuning
headstock
ergonomics
Andrés Segovia
classical guitar
Whittier, California
Fullerton Junior College
Fender Musical Instruments
Roger Rossmeisl
Fender Telecaster Thinline
electric violin
Telecaster
George Harrison
Stratocaster
Jimi Hendrix
acoustic guitar
dulcimer
Joni Mitchell
Duran Duran
Saturday Night Live
Stuart Hamm
Kenny G
Laconia, New Hampshire
pancreatic cancer
transpose
Official Kubicki website

paragraph: Philip Kubicki Factor Bass

paragraph: The Philip Kubicki Factor Bass is a brand of electric bass guitar made in America and sold factory-direct. Bass guitars designed by Kubicki are distinguished by a unique tuning module located in the body of the guitar rather than the headstock, as seen on most bass guitars today. The design criteria are based on human factors, or ergonomics, and the belief that a musical instrument should be inspirational to the player.

paragraph: Section::::History.

paragraph: Section::::History.:First classical guitars – 1959 to 1961.

paragraph: Phil Kubicki (correct pronunciation: [kuˈbit͡ski]) first became interested in guitars when he saw Andrés Segovia playing classical guitar on TV and then saw his first guitar on family visits to his grandparents' house. "For some reason my grandfather had a guitar in the closet," recalls Philip. "And that's where I'd head: to play with that guitar. It had one string that was a mile off the fingerboard. I think all of us instrument makers have had that kind of fascination - some little spark, back at the very beginning."

paragraph: A few years later, while Kubicki was in high school in Whittier, California, a friend introduced him to Ernie Drumheller. "His hobby was making guitars. He invited my friend and me to come to his shop on Saturdays, and he taught us how to make guitars. I took off with it and built a half dozen classical guitars during my high school years."

paragraph: Section::::History.:Fender years – 1964 to 1973.

paragraph: In 1964, while attending Fullerton Junior College, close to Fender Musical Instruments, Kubicki took a factory tour, filled out an application, and was hired by Roger Rossmeisl to work with him in his Acoustic Guitar Division. Rossmeisl then became head of the Research & Development for acoustic and electric guitars and asked Phil to be his assistant. The R&D position led to many prototypical, experimental instruments like the Fender Telecaster Thinline, the electric violin, the LTD and Montego Jazz guitars, and the first rosewood Telecaster for George Harrison and the first rosewood Stratocaster for Jimi Hendrix – which was the last guitar Fender made for Jimi Hendrix. In late 1973, Kubicki left Fender to start his own business.

paragraph: Section::::History.:Early independent career – 1973 to 1982.

paragraph: The early products created after leaving Fender were acoustic guitars and various guitar-making supplies. During this time, an acoustic guitar and a dulcimer were made for Joni Mitchell. Until 1985, the primary products were guitar-making supplies that evolved into the manufacture of bodies and necks emulating the Fender design. Short-scale guitars called the "Arrow" and "Express" were a major effort during this period resulting in 275 numbered instruments.

paragraph: Section::::History.:The Factor Bass – 1983 to present.

paragraph: The ambition to make a line of original instruments began in 1983, culminating in the Factor bass. John Taylor of Duran Duran played his Ex Factor bass in the band's appearance on "Saturday Night Live" in the early 1980s, which boosted interest in the instrument.

paragraph: The first production model was sold in January 1985. Stuart Hamm, winner of the Bass Players' Best Bassist in both jazz and rock, gave more credence to the instrument. Worldwide recognition began when Vail Johnson, playing in Kenny G's band, toured internationally playing his Ex Factor bass. By this point, production of the Factor bass could not meet demand. In 1988, a licensing agreement between Kubicki and Fender Musical Instruments was established for the manufacture and sale of the Factor bass by Fender that lasted until 1991. During this period, the main emphasis was on the development of the Key Factor 4 and 5 string basses as well as other prototypes. As soon as the Fender contract ended Kubicki was immediately back in production selling its Factor bass line.

paragraph: Until recently, Phil Kubicki concentrated on filling special orders making custom Ex Factor basses with deluxe wood veneers. Factor basses are made in America and sold factory direct.

paragraph: Philip Kubicki was a renowned guitar designer and builder who was active in the musical-instrument industry for more than 50 years. He died March 18, 2013, at his home in Laconia, New Hampshire. He was 69 years old and had been diagnosed with stage four pancreatic cancer in mid January.

paragraph: Section::::Design criteria.

paragraph: Human factors were the inspiration for the Factor bass. The design criteria were to develop a bass that:

paragraph: BULLET::::- Was balanced to naturally rest in playing position and was absolutely not head heavy

paragraph: BULLET::::- Could be fine-tuned with a body-mounted tuner

paragraph: BULLET::::- Offered a quick way to "D" tune the bass without changing string tension or having to transpose

paragraph: BULLET::::- Had a neck that was more stable than solid wood without resorting to the heavy, cold, non-adjustable, and expensive graphite alternative

paragraph: BULLET::::- Used only unique, in house-designed electronic components

paragraph: BULLET::::- Eliminated fingerboard position markers

paragraph: BULLET::::- Used no retrofit parts

paragraph: BULLET::::- Had an original outward appearance that would be aesthetically pleasing

paragraph: Section::::Patents and innovations.

paragraph: The design criteria resulted in these unique features:

paragraph: BULLET::::- a patented bridge tuner device

paragraph: BULLET::::- a patented string clasp "D" string tuning mechanism

paragraph: BULLET::::- a design patent for the overall Factor bass design

paragraph: BULLET::::- a 32 piece rotary-cut laminated veneer neck

paragraph: BULLET::::- integrated multi-function, 18V powered circuit board that uses a rotary switch to select one of the six positions available from the humbucking pick-ups

paragraph: BULLET::::- unique neck side dashes that eliminate and replace fingerboard position markers

paragraph: BULLET::::- all in-house designed knobs, pick-ups, bridge tuner parts, etc.

paragraph: Section::::External links.

paragraph: BULLET::::- Official Kubicki website

wikidata_label: Philip Kubicki Factor Bass

wikipedia_title: Philip Kubicki Factor Bass


text: All the Russias

text: Grand Duchess of Russia

text: title of pretence

text: Imperial Highness

text: Alexander II of Russia

text: Madrid

text: Grand Duke Vladimir Kirillovich of Russia

text: Princess Leonida

text: Bagration-Mukhrani

text: Georgian

text: Polish

text: German

text: Swedish

text: Grand Duke Kirill Vladimirovich of Russia

text: Prince Nicholas of Romania

text: Queen Ioanna of Bulgaria

text: Oxford University

text: defunct throne

text: heiress presumptive

text: dynastic

text: Curatrix

text: Vsevolod Ioannovich

text: Konstantinovichi

text: Roman Petrovich

text: Nikolaevichi

text: Prince Andrei Alexandrovich

text: Mihailovichi

text: Madrid

text: Prince Franz Wilhelm of Prussia

text: Hohenzollern

text: Wilhelm II

text: Victoria, Queen of the United Kingdom

text: Orthodox faith

text: George Mikhailovich

text: Arabic

text: Alexander II of Russia

text: Elimar I, Count of Oldenburg

text: Pauline laws

text: Romanov Family Association

text: Nicholas Romanov, Prince of Russia

text: Prince Dimitri Romanov

text: morganatic marriage

text: House of Bagration

text: Georgia

text: Princess Tatiana Constantinovna of Russia

text: Nicholas II

text: deposed dynasty

text: post-Soviet Georgia

text: primate of the Orthodox Church

text: Patriarch Ilia II

text: restoration of the Georgian monarchy

text: Prince David Bagration-Moukhransky

text: Nicholas II

text: Boris Yeltsin

text: Grand Duchess Xenia

text: Russian Orthodox Church

text: Order of Saint Nicholas the Wonderworker

text: Kirill I Patriarch of Moscow and all Russia

text: Empress Alexandra Feodorovna

text: Yekaterinburg

text: Grand Duchess

text: House of Romanov

text: Imperial Order of Saint Andrew

text: House of Romanov

text: House of Romanov

text: House of Romanov

text: Imperial Order of the White Eagle

text: House of Romanov

text: House of Romanov

text: Imperial Order of Saint Vladimir

text: House of Romanov

text: Imperial Decoration of Saint Anastasia

text: House of Romanov

text: Imperial Order of Saint Anna

text: House of Romanov

text: House of Romanov

text: House of Romanov

text: House of Romanov

text: Imperial Order of Saint Michael the Archangel

text: Moldovan Orthodox Church

text: Saint Paraskevi

text: Sergius of Radonezh

text: Russian Orthodox Church Outside Russia

text: Our Lady of the Sign

text: Russian Orthodox Church Outside Russia

text: John of Shanghai and San Francisco

text: Ukrainian Orthodox Church (Moscow Patriarchate)

text: Saint Barbara

text: Ethiopian Imperial Family

text: Order of the Queen of Sheba

text: Georgian Royal Family

text: Order of Queen Tamar

text: Sovereign Military Order of Malta

text: Order of the White Eagle

text: Portuguese Royal Family

text: Royal Order of Saint Michael of the Wing

text: Honorary Citizen

text: Agrigento

text: Russian International Person of the Year

text: Honorary Citizen

text: Ivolginsky District

text: Russian Academy of Arts

text: List of Grand Duchesses of Russia

text: Official website

text: Prince Cyril Toumanoff

categories: 1953 births,Grand Crosses of the Order of the Queen of Sheba,Russian people of Georgian descent,Recipients of the Order of St. George of the First Degree,Alumni of the University of Oxford,Recipients of the Order of St. Alexander Nevsky,House of Romanov in exile,Russian monarchists,Members of the Russian Orthodox Church,Spanish people of German descent,Recipients of the Order of Saint Stanislaus (Russian), 1st class,Recipients of the Order of St. Anna, 1st class,Recipients of the Order of Saint Catherine,Living people,Spanish people of Russian descent,Recipients of the Order of St. Andrew,Spanish people of Georgian descent,Pretenders to the Russian throne,Recipients of the Order of St. Vladimir, 1st class,Russian grand duchesses

paragraph: Grand Duchess Maria Vladimirovna of Russia

paragraph: Grand Duchess Maria Vladimirovna of Russia (; born 23 December 1953 in Madrid) has been a claimant to the headship of the Imperial Family of Russia (who reigned as Emperors and Autocrats of All the Russias from 1613 to 1917) since 1992. Although she has used Grand Duchess of Russia as her title of pretence with the style Imperial Highness throughout her life, her right to do so is disputed. She is a great-great-granddaughter in the male line of Emperor Alexander II of Russia.

paragraph: Section::::Early life.

paragraph: Section::::Early life.:Birth.

paragraph: Maria Vladimirovna was born in Madrid, the only child of Grand Duke Vladimir Kirillovich of Russia, head of the Imperial Family of Russia and titular Emperor of Russia, and Princess Leonida Bagration-Mukhrani of Georgian, Polish, German and Swedish descent. Her paternal grandparents were Grand Duke Kirill Vladimirovich of Russia and Grand Duchess Victoria Fyodorovna ("née" Princess Victoria Melita of Edinburgh and Saxe-Coburg-Gotha). Her godfather was Prince Nicholas of Romania and godmother, Queen Ioanna of Bulgaria.

paragraph: Section::::Early life.:Education.

paragraph: Maria was educated in Madrid and Paris before studying Russian history and literature at Oxford University.

paragraph: On 23 December 1969, upon reaching her dynastic majority, Maria swore an oath of loyalty to her father, to Russia, and to uphold the Fundamental Laws of Russia which governed succession to the defunct throne. At the same time, her father issued a controversial decree recognising her as heiress presumptive and declaring that, in the event he predeceased other dynastic Romanov males, then Maria would become the "Curatrix of the Imperial Throne" until the death of the last male dynast. This has been viewed as an attempt by her father to ensure the succession remained in his branch of the imperial family, while the heads of the other branches of the imperial family, the Princes Vsevolod Ioannovich of the Konstantinovichi, Roman Petrovich of the Nikolaevichi and Prince Andrei Alexandrovich of the Mihailovichi declared that her father's actions were illegal. As it happened, Vladimir Kirillovich, who died in 1992, outlived all the other male Romanov dynasts, and his daughter had no occasion to assume curatorship.

paragraph: Section::::Marriage.

paragraph: In Madrid on 22 September 1976, Maria married Prince Franz Wilhelm of Prussia, her third cousin once removed. He is a Hohenzollern great-grandson of Germany's last emperor Wilhelm II and a great-great-great grandchild of Victoria, Queen of the United Kingdom. Franz Wilhelm converted to the Orthodox faith prior to the wedding, taking the name "Michael Pavlovich" and receiving the title of a Grand Duke of Russia from Maria's father.

paragraph: The couple separated in 1982, a year after the birth of their only child, George Mikhailovich, who had been granted the title Grand Duke of Russia at birth by his grandfather Vladimir. Following the divorce on 19 June 1985, Franz Wilhelm reverted to his Prussian name and style.

paragraph: Maria Vladimirovna lives in France and Spain. She is fluent in Russian, English, French, and Spanish, and also speaks some German, Italian, and Arabic.

paragraph: Section::::Succession claims and activities.

paragraph: Maria Vladimirovna is a patrilineal descendant of Alexander II of Russia, who is also a male-line descendant of Elimar I, Count of Oldenburg.

paragraph: When Vladimir Kirillovich died on 21 April 1992, his daughter Maria claimed to succeed him as head of the Russian Imperial Family on the grounds that she was the only child of the last male dynast of the Imperial house according to the Romanovs' Pauline laws. Although the charter of the Romanov Family Association (RFA), which represents other descendants of the Romanov family, asserts the premise that Russia's form of government should be determined democratically and that therefore the Association and its members undertake to adopt no position on any claims to the Imperial throne, its two most recent presidents have personally opposed Maria's claims: Nicholas Romanov, Prince of Russia, who maintained his own claims to dynastic status and to headship of the Romanov family, stated, "Strictly applying the Pauline Laws as amended in 1911 to all marriages of Equal Rank, the situation is very clear. At the present time, not one of the Emperors or Grand Dukes of Russia has left living descendants with unchallengeable rights to the Throne of Russia." His younger brother, Prince Dimitri Romanov, said of Maria's assumption of titles, including ""de jure" Empress of all the Russias", that "It seems that there are no limits to this charade". The supporters of Maria Vladimirovna point to the fact that neither Nicholas nor his brother Dimitri had any dynastic claims due to the morganatic marriage of their parents.

paragraph: In 1911, when a member of Maria Vladimirovna's mother's family, Prince Konstantin Alexandrovich Bagration-Mukhransky (who belonged to the House of Bagration that reigned as kings in Georgia until annexation by the Russian Empire in the 1800s) married Princess Tatiana Constantinovna of Russia, Nicholas II required that she renounce her rights to the Imperial Throne. Yet by the time Maria's parents wed in 1948, the Romanovs had joined the Bagrations as a deposed dynasty, and it was post-Soviet Georgia's primate of the Orthodox Church, Patriarch Ilia II, who called for restoration of the Georgian monarchy as recently as 2007, engaging political and public interest in the dynastic prospects of Maria Vladimirovna's first cousin, Prince David Bagration-Moukhransky, who claims headship of the senior branch of the House of Bagration.

paragraph: Following the discovery of the remains of Emperor Nicholas II and most of his immediate family in 1991, Maria Vladimirovna wrote to President Boris Yeltsin regarding the burial of the remains, saying of her Romanov cousins, whom she does not recognise as members of the Imperial House (including the grandchildren of Nicholas II's sister Grand Duchess Xenia), that they "do not have the slightest right to speak their mind and wishes on this question. They can only go and pray at the grave, as can any other Russian, who so wishes". At the behest of the Russian Orthodox Church, Maria did not recognise the authenticity of the remains and declined to attend the reburial ceremony in 1998. She has also said, regarding some of her Romanov cousins, that "My feeling about them is that now that something important is happening in Russia, they suddenly have awakened and said, 'Ah ha! There might be something to gain out of this.

paragraph: Maria hopes for the restoration of the monarchy someday and is "ready to respond to a call from the people". When questioned about the ongoing rift among Romanov descendants, Maria said:

paragraph: In 2002, Maria became frustrated with the internal strife within the Russian monarchist movement. When representatives of the Union of Descendants of Noble Families, one of two rival nobility associations (the other, older one being the Assembly of the Russian Nobility) were discovered to be distributing chivalric titles and awards of the Order of Saint Nicholas the Wonderworker, without her approval, she published a relatively strongly worded disclaimer.

paragraph: In 2003, Kirill I Patriarch of Moscow and all Russia stated in a congratulatory message on Maria Vladimirovna's 55th birthday, “you are the embodiment of a Russian Grand Duchess: noble, wise, compassionate, and consumed with a genuine love for Russia. Though you may reside far from Russia, you continue to take an active part in its life, rejoicing when there are triumphs and empathizing when there are trials. It is deeply gratifying to know that, even in these new historical circumstances, you are making a significant contribution to the building of Russia’s global standing on the basis of spiritual and moral values, and the centuries-old traditions of the Russian people. The Russian Orthodox Church remains the preserver of the historical memory of the Russian people, and supports, as it has traditionally, the warmest possible relations with the Russian Imperial House.”

paragraph: Subsequently, the official March 2013 recognition of her claim by the head of the Russian Orthodox Church, seems to have drawn further supporters. In an interview, he firmly rejected the claims of the other Romanov descendants and stated: "Today, none of those persons who are descendants of the Romanovs are claimants to the Russian throne. But in the person of Grand Duchess Maria Vladimirovna and her son, George, the succession of the Romanovs is preserved — no longer to the Russian Imperial throne, but to history itself." (Сегодня никто из лиц, принадлежащих к потомкам Романовых, не претендует на Российский престол. Но в лице Великой княгини Марии Владимировны и ее сына Георгия сохраняется преемственность Романовых — уже не на Российском императорском престоле, а просто в истории).

paragraph: In December 2013, Grand Duchess Maria Vladimirovna visited the United States at the request of the Russian Orthodox Church Abroad, which received her with full honours and recognition as head of the Russian Imperial House. On 17 July 2018 she participated in the liturgical commemoration of the centenary of the assassinations of Saints Nicholas II, Empress Alexandra Feodorovna and their children conducted in Yekaterinburg by Patriarch Kirill I.

paragraph: Section::::Titles, styles and honours.

paragraph: Section::::Titles, styles and honours.:Titles in pretence.

paragraph: BULLET::::- 23 December 1953 – 21 September 1976: "Her Imperial Highness" Grand Duchess Maria Vladimirovna of Russia

paragraph: BULLET::::- 22 September 1976 – 14 December 1986: "Her Imperial and Royal Highness" Grand Duchess Maria Vladimirovna, Princess of Prussia

paragraph: BULLET::::- 15 December 1986 – Present: "Her Imperial Highness" Grand Duchess Maria Vladimirovna of Russia

paragraph: Her style, and her right to the title "Grand Duchess", are disputed.

paragraph: Section::::Titles, styles and honours.:Honours.

paragraph: Section::::Titles, styles and honours.:Honours.:National dynastic honours.

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon with Collar of the Imperial Order of Saint Andrew

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Order of Saint Alexander Nevsky, Special Class

paragraph: BULLET::::- House of Romanov: Sovereign Grand Mistress Dame Grand Cordon of the Imperial Order of Saint Catherine, Special Class

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon with Collar of the Imperial Order of the White Eagle

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Military Order of Saint George, Special Class

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Order of Saint Vladimir

paragraph: BULLET::::- House of Romanov: Sovereign Grand Mistress Dame of the Imperial Decoration of Saint Anastasia

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Order of Saint Anna

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Order of Saint Nicholas the Wonderworker

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Order of Saint Stanislaus, Special Class

paragraph: BULLET::::- House of Romanov: Sovereign Grand Mistress Dame of the Imperial Decoration of Saint Olga, Special Class

paragraph: BULLET::::- House of Romanov: Sovereign Knight Grand Cordon of the Imperial Order of Saint Michael the Archangel

paragraph: Section::::Titles, styles and honours.:Honours.:Russian Orthodox Church.

paragraph: BULLET::::- Moldovan Orthodox Church: Medal of Saint Paraskevi

paragraph: BULLET::::- : Order of St. Sergius of Radonezh, 1st Class

paragraph: BULLET::::- Russian Orthodox Church Outside Russia: Order of Our Lady of the Sign, 1st Class

paragraph: BULLET::::- Russian Orthodox Church Outside Russia: Medal of John of Shanghai and San Francisco

paragraph: BULLET::::- Ukrainian Orthodox Church (Moscow Patriarchate): Medal of Saint Barbara

paragraph: Section::::Titles, styles and honours.:Honours.:Foreign dynastic orders and honours.

paragraph: BULLET::::- Ethiopian Imperial Family: Knight Grand Cordon of the Order of the Queen of Sheba

paragraph: BULLET::::- Georgian Royal Family: Knight Grand Cross with Collar of the Order of Queen Tamar

paragraph: BULLET::::- : Baliff Grand Cross of Sovereign Military Order of Malta

paragraph: BULLET::::- : Commander of the Order of the Republic

paragraph: BULLET::::- : Knight Grand Cross of the Order of the White Eagle

paragraph: BULLET::::- Portuguese Royal Family: Knight Grand Cross of the Royal Order of Saint Michael of the Wing

paragraph: Section::::Titles, styles and honours.:Honours.:Awards.

paragraph: BULLET::::- : Honorary Citizen of the City of Agrigento

paragraph: BULLET::::- : Winner of the Russian International Person of the Year

paragraph: BULLET::::- : Honorary Citizen of the Ivolginsky District

paragraph: BULLET::::- : Honorary member of the Russian Academy of Arts

paragraph: BULLET::::- : Medal of the Assembly of the Russian Nobility

paragraph: Section::::See also.

paragraph: BULLET::::- List of Grand Duchesses of Russia

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

paragraph: BULLET::::- Grand Duchess Maria Vladimirovna Article, Video Interview and Photographs

paragraph: BULLET::::- Prince Cyril Toumanoff's Paper on the Succession/a

description: Russian Grand Duchess

wikidata_label: Maria Vladimirovna, Grand Duchess of Russia

wikipedia_title: Grand Duchess Maria Vladimirovna of Russia


text: conceptual art

text: collagist

text: Futura Bold Oblique

text: Helvetica Ultra Condensed

text: Newark, New Jersey

text: Shell Oil

text: Weequahic High School

text: Syracuse University

text: Syracuse University

text: Parson's school of Design

text: graphic design

text: freelance

text: poetry reading

text: Diane Arbus

text: Marvin Israel

text: Parsons School of Design

text: Condé Nast Publications

text: "Mademoiselle"

text: House and Garden

text: Aperture

text: Artforum

text: Ingrid Sischy

text: Marcia Tucker

text: Whitney Biennial

text: Magdalena Abakanowicz

text: Whitney Biennial

text: University of California

text: Walter Benjamin

text: Roland Barthes

text: feminist postmodern artists

text: Jenny Holzer

text: Sherrie Levine

text: Martha Rosler

text: Cindy Sherman

text: Pictures Generation

text: feminism

text: consumerism

text: Women's March on Washington

text: Wexner Center for the Arts

text: Ms.

text: Esquire

text: Newsweek

text: The New Republic

text: Futura Bold

text: Mademoiselle.

text: Little Tokyo, Los Angeles

text: Pledge of Allegiance

text: Barbara Bloom

text: Jenny Holzer

text: Jeff Koons

text: Sherrie Levine

text: Richard Prince

text: Strasbourg

text: North Carolina Museum of Art

text: Fisher College of Business

text: LACMA

text: Moderna Museet

text: Price Center

text: University of California, San Diego

text: Parrish Art Museum

text: Venice Biennale

text: Hirshhorn Museum and Sculpture Garden

text: John F.

text: Robert Kennedy

text: Marilyn Monroe

text: Malcolm X

text: Courtney Love

text: H.L. Mencken

text: Museum of Contemporary Art, Los Angeles

text: Los Angeles Unified School District

text: Donald Trump

text: New York Magazine

text: Whitney Museum

text: California Institute of the Arts

text: University of California, Berkeley

text: UCSD

text: University of California at Los Angeles

text: Wexner Center for the Arts

text: Scripps College

text: Artforum

text: Esquire

text: The Village Voice

text: CalArts

text: Ross Bleckner

text: David Salle

text: Diane Arbus

text: Julian Schnabel

text: Sherrie Levine

text: Cindy Sherman

text: Nancy Dwyer

text: Louise Lawler

text: Sarah Charlesworth

text: Laurie Simmons

text: Judith Barry

text: Jenny Holzer

text: Richard Prince

text: Becky Johnston

text: Lynne Tillman

text: P.S. 1 Contemporary Art Center

text: Iwona Blazwick

text: Institute of Contemporary Arts

text: Museum of Contemporary Art

text: Whitney Museum of American Art

text: Institute of Contemporary Arts

text: Musée d'art contemporain de Montréal

text: Serpentine Gallery

text: Siena

text: Museum of Contemporary Art San Diego

text: Moderna Museet

text: The Pictures Generation

text: Metropolitan Museum of Art

text: Whitney Biennial

text: Documenta

text: Venice Biennale

text: Leone d'Oro

text: Incheon Women Artists' Biennale

text: Seoul

text: South Korea

text: biennial

text: Los Angeles County Museum of Art

text: Lever House

text: Modern Art Oxford

text: Museum of Contemporary Art, Los Angeles

text: Venice Biennale

text: Leone d'Oro

text: Hammer Museum

text: Rachel Maddow

text: John Baldessari

text: Catherine Opie

text: Museum of Contemporary Art

text: Gagosian Gallery

text: Mary Boone

text: Sprüth Magers Berlin London

text: ventriloquist's dummy

text: Christie's

text: Supreme

text: James Jebbia

text: Leah McSweeney

text: My Pretty Pony

text: Stephen King

text: Whitney Museum of American Art

text: Bulls on Parade

text: Rage Against The Machine

text: You Are Not Yourself

text: Feminist art movement in the United States

text: Shepard Fairey

text: Emi Fontana

text: Jenny Holzer

text: Martin Firrell

text: Louise Lawler

text: Cindy Sherman

text: Mike Kelley

text: Joel Wachs

text: PBS

text: Kruger collection

text: Venice Biennale Awards Kruger

text: "Barbara Kruger", Art History Archive

text: Barbara Kruger Photoshop Tutorial

categories: Jewish American artists,American installation artists,American academics,Jewish feminists,American feminists,Feminist artists,Postmodern artists,Media theorists,Women photographers,1945 births,Franklin Furnace artists,Women conceptual artists,American conceptual artists,Artists from Newark, New Jersey,20th-century American women artists,Censorship in the arts,Living people

paragraph: Barbara Kruger

paragraph: Barbara Kruger (born January 26, 1945) is an American conceptual artist and collagist. Most of her work consists of black-and-white photographs, overlaid with declarative captions, stated in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed text. The phrases in her works often include pronouns such as "you", "your", "I", "we", and "they", addressing cultural constructions of power, identity, and sexuality. Kruger currently lives and works in New York and Los Angeles.

paragraph: Section::::Early life and career.

paragraph: Kruger was born into a lower-middle-class family in Newark, New Jersey. Her father worked as a chemical technician for Shell Oil and her mother was a legal secretary. She graduated from Weequahic High School. She attended Syracuse University, but left after one year due to the death of her father. After spending a year at Syracuse University, in 1965, she went on to pursue a semester at Parson's school of Design in New York. Over the next ten years, Kruger established herself whilst pursuing graphic design for magazines, freelance picture editing, as well as designing book jackets. By the later 1960s, Kruger gained interest in poetry, and began attending poetry readings and writings. Kruger studied art and design with Diane Arbus and Marvin Israel at Parsons School of Design in New York. Kruger soon obtained a design job at Condé Nast Publications. There after, Kruger was awarded the head designer for that following year. She initially worked as a designer at "Mademoiselle" and later moved on to work part-time as a picture editor at House and Garden, Aperture, and other publications. She also wrote film, television, and music columns for "Artforum" and "Real Life Magazine" at the suggestion of her friend Ingrid Sischy.

paragraph: Kruger's earliest works date back to 1969. These works were large wall hangings made out of different materials such as yarn, beads, sequins, feathers and ribbons. These pieces represented the feminist recuperation of craft during this period. Kruger crocheted, sewed and painted bright-hued and erotically suggestive objects, some of which were included by curator Marcia Tucker in the 1973 Whitney Biennial. They were inspired by Magdalena Abakanowicz's show at the Museum of Modern Art. Although some of these works were included in the Whitney Biennial, Kruger became detached and unsatisfied with her working output. In 1976 she took a break from making what had become more abstract works, feeling that her work had become meaningless and mindless. She then moved to Berkeley, California where she taught at the University of California and became inspired by the writings of Walter Benjamin and Roland Barthes. In 1977 she returned to artmaking, working with her own architectural photographs and publishing an artist's book, "Picture/Readings", in 1979. She was inspired to photograph architecture from her family "looking at family homes [they] could never afford."

paragraph: At the beginning of her art career, she was intimidated to enter New York galleries due to the art scene which was an atmosphere that, to her, did not welcome "particularly independent, non-masochistic women." However, she received early support for her projects from groups such as the Public Art Fund that encouraged her to continue art making. She switched to her modern practice of collage in the early 80's.

paragraph: Section::::Artistic practice.

paragraph: Addressing issues of language and sign, Kruger has often been grouped with such feminist postmodern artists as Jenny Holzer, Sherrie Levine, Martha Rosler, and Cindy Sherman. Like Holzer and Sherman, in particular, she uses the techniques of mass communication and advertising to explore gender and identity. Kruger is considered to be part of the Pictures Generation.

paragraph: Section::::Artistic practice.:Imagery and text.

paragraph: Much of Kruger's work pairs found photographs with pithy and assertive text that challenges the viewer. Her method includes developing her ideas on a computer, later transferring the results (often billboard-sized) into images. Examples of her instantly recognizable slogans read "I shop therefore I am," and "Your body is a battleground," appearing in her trademark white letters against a red background. Much of her text calls attention to ideas such as feminism, consumerism, and individual autonomy and desire, frequently appropriating images from mainstream magazines and using her bold phrases to frame them in a new context.

paragraph: Kruger has said that "I work with pictures and words because they have the ability to determine who we are and who we aren't." A larger category that threads through her work is the appropriation and alteration of existing images. In describing her use of appropriation, Kruger states:

paragraph: Pictures and words seem to become the rallying points for certain assumptions. There are assumptions of truth and falsity and I guess the narratives of falsity are called fictions. I replicate certain words and watch them stray from or coincide with the notions of fact and fiction.

paragraph: Her poster for the 1989 Women's March on Washington in support of legal abortion included a woman's face bisected into positive and negative photographic reproductions, accompanied by the text "Your body is a battleground." A year later, Kruger used this slogan in a billboard commissioned by the Wexner Center for the Arts. Twelve hours later, a group opposed to abortion responded to Kruger's work by replacing the adjacent billboard with an image depicting an eight-week-old fetus.

paragraph: Kruger's early monochrome pre-digital works, known as 'paste ups', reveal the influence of the artist's experience as a magazine editorial designer during her early career. These small scale works, the largest of which is 11 x 13 inches (28 x 33 cm), are composed of altered found images, and texts either culled from the media or invented by the artist. A negative of each work was then produced and used to make enlarged versions of these initial 'paste ups'. Between 1978 and 1979, she completed "Picture/Readings," simple photographs of modest houses alternating with panels of words. From 1992 on, Kruger designed several magazine covers, such as "Ms.", "Esquire", "Newsweek", and "The New Republic". Her signature font style of Futura Bold type is likely inspired from the "Big Idea" or "Creative Revolution" advertising style of the 1960s that she was exposed to during her experience at "Mademoiselle."

paragraph: In 1990, Kruger scandalized the Japanese American community of Little Tokyo, Los Angeles, with her proposal to paint the Pledge of Allegiance, bordered by provocative questions, on the side of a warehouse in the heart of the historic downtown neighborhood. Kruger had been commissioned by MOCA to paint a mural for "A Forest of Signs: Art in the Crisis of Representation," a 1989 exhibition that also included works by Barbara Bloom, Jenny Holzer, Jeff Koons, Sherrie Levine, and Richard Prince. But before the mural went up, Kruger herself and curator Ann Goldstein presented it at various community meetings over the time period of 18 months. Only after protests did the artist offer to eliminate the pledge from her mural proposal, while still retaining a series of questions painted in the colors and format of the American flag: "Who is bought and sold? Who is beyond the law? Who is free to choose? Who follows orders? Who salutes longest? Who prays loudest? Who dies first? Who laughs last?". A full year after the exhibition closed, Kruger's reconfigured mural finally went up for a two-year run.

paragraph: In 1994, Kruger's "L'empathie peut changer le monde" ("Empathy can change the world") was installed on a train station platform in Strasbourg, France. One year later, with architects Henry Smith-Miller and Laurie Hawkinson and landscape architect Nicholas Quennell, she designed the 200-foot-long (60 m) sculptural letters "Picture This" for a stage and outdoor amphitheater at the North Carolina Museum of Art, Raleigh. Between 1998 and 2008, she created permanent installations for the Fisher College of Business, the Broad Contemporary Art Museum at LACMA, the Moderna Museet, Stockholm, and the Price Center at the University of California, San Diego. For a site-specific piece that she produced at the Parrish Art Museum in 1998, Kruger placed across the upper range of the museum's Romanesque facade stark red letters that read, "You belong here"; below, on columns separating three arched entry portals, stacked letters spelled "Money" and "Taste." As part of the Venice Biennale in 2005, Kruger installed a digitally printed vinyl mural across the entire facade of the Italian pavilion, thereby dividing it into three parts—green at the left, red at the right, white in between. In English and Italian, the words "money" and "power" climbed the portico's columns; the left wall said, "Pretend things are going as planned," while "God is on my side; he told me so" fills the right. In 2012, her installation "Belief+Doubt", which covers 6,700 square feet (620 m²) of surface area and was printed onto wallpaper-like sheets in the artist's signature colors of red, black and white, was installed at the Hirshhorn Museum and Sculpture Garden.

paragraph: Section::::Artistic practice.:Other works.

paragraph: Since the mid-1990s, Kruger has created large-scale immersive video and audio installations. Enveloping the viewer with the seductions of direct address, the work continues her questioning of power, control, affection and contempt: still images now move and speak and spatialize their commentary. In 1997, Kruger produced a series of fiberglass sculptures of compromised celebrities, including John F. and Robert Kennedy hoisting Marilyn Monroe on their shoulders. For a concurrent show that same year in New York, she had city buses wrapped with quotations from figures such as Malcolm X, Courtney Love, and H.L. Mencken. For her first retrospective, at the Museum of Contemporary Art, Los Angeles, she created 15 billboards and countless wild postings, executed and installed in both English and Spanish. For a public awareness campaign to promote arts instruction in the Los Angeles Unified School District, Kruger covered a bus with phrases like "Give your brain as much attention as you do your hair and you'll be a thousand times better off"; "from here to there"; "Don't be a jerk"; and "You want it. You buy it. You forget it." In 2016, Kruger created a work protesting the election of Donald Trump for the cover of New York Magazine and participated in a January 20, 2017 inauguration boycott.

paragraph: Section::::Artistic practice.:Teaching.

paragraph: Kruger has taught at the Independent Study Program at the Whitney Museum; California Institute of the Arts, Valencia; University of California, Berkeley; Chicago; and UCSD for five years before joining the faculty at the University of California at Los Angeles, where she teaches in New Genres. In 1995–96, she was artist in residence at the Wexner Center for the Arts, where she created Public Service Announcements addressing issues of domestic violence. In 2000, she was the Wiegand Foundation Artist in Residence at Scripps College, Claremont. She has written about television, film and culture for "Artforum", "Esquire", "The New York Times", and "The Village Voice".

paragraph: Section::::Artistic practice.:Connections with other artists.

paragraph: Kruger was involved with a group of artists from her graduating classes from CalArts in the 1970s, including Ross Bleckner and David Salle, listing them as her "first peer group." She considered Diane Arbus to be her "first female role model ... [that] didn't wash the floor six times a day." She also was connected with Julian Schnabel, Marilyn Lerner, Sherrie Levine, Cindy Sherman, Jim Welling, Nancy Dwyer, Louise Lawler, Sarah Charlesworth, Laurie Simmons, Carol Squiers, Judith Barry, Jenny Holzer, Richard Prince, Becky Johnston, and Lynne Tillman. She was also involved in a group called Artists Meeting for Cultural Change.

paragraph: Section::::Exhibitions.

paragraph: In 1979, Barbara Kruger exhibited her first works combining appropriated photographs and fragments of superimposed text at P.S. 1 Contemporary Art Center, in Long Island City, Queens. Her first institutional show was staged in London, when Iwona Blazwick decided to exhibit her work at the Institute of Contemporary Arts in 1983. In 1999, the Museum of Contemporary Art in Los Angeles mounted the first retrospective exhibition to provide a comprehensive overview of Kruger's career since 1978, which travelled to the Whitney Museum of American Art, New York in 2000. Kruger has since been the subject of many one-person exhibitions, including shows organized by the Institute of Contemporary Arts in London (1983); the Musée d'art contemporain de Montréal (1985); Serpentine Gallery in London (1994); Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002); Museum of Contemporary Art San Diego (2005); and Moderna Museet in Stockholm (2008). In 2009, Kruger was included in the seminal show "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art. Kruger has also participated in the Whitney Biennial (1983, 1985, and 1987) and Documenta 7 and 8 (1982 and 1987). She represented the United States at the Venice Biennale in 1982 and again participated in 2005, when she received the Leone d'Oro for lifetime achievement.

paragraph: In 2007, Kruger was one of the many artists to be a part of South Korea's Incheon Women Artists' Biennale in Seoul. This marked South Korea's first women's biennial. That same year, she designed "Consider This...", an exhibition at the Los Angeles County Museum of Art. In September 2009, Kruger's "Between Being Born and Dying", a major installation commissioned by the Lever House Art Collection, opened at the New York City architectural landmark Lever House. In 2012, as a member of the board of the Museum of Contemporary Art, Los Angeles (MOCA), Kruger volunteered to be the lead funder of the museum's scholarly exhibit "Ends of the Earth: Land Art to 1974" and to create a new work on vinyl to sell with proceeds going entirely toward the show's $1 million budget. An exhibition of new and recent work from Barbara Kruger was hosted by Modern Art Oxford in 2014.

paragraph: Kruger's words and pictures have been displayed in both galleries and public spaces, as well as framed and unframed photographs, posters, postcards, T-shirts, electronic signboards, façade banners, and billboards.

paragraph: Section::::Recognition.

paragraph: The Museum of Contemporary Art, Los Angeles awarded Kruger the MOCA Award to Distinguished Women in the Arts in 2001. In 2005, she was included in The Experience of Art at the Venice Biennale and was the recipient of the Leone d'Oro for lifetime achievement. At the 10th anniversary Gala in the Garden at the Hammer Museum in 2012, Kruger was honored by TV presenter Rachel Maddow. In 2012, Kruger joined John Baldessari and Catherine Opie in leaving the Museum of Contemporary Art's board in protest, but later returned in support of the museum's new director, Philippe Vergne, in 2014.

paragraph: Section::::Art market.

paragraph: Kruger's first dealer was Gagosian Gallery, with which she did two shows in Los Angeles in the early 1980s. In 1986, she was the first woman to join the prominent contemporary art gallery of Mary Boone and has had nine solo shows there since. Kruger is also represented by Rhona Hoffman Gallery, Chicago; and Sprüth Magers Berlin London and L&M Arts in Los Angeles. In late 2011, her 1985 photo of a ventriloquist's dummy, "Untitled (When I Hear the Word Culture I Take Out My Checkbook)," was sold at Christie's for a record $902,500.

paragraph: Section::::Supreme lawsuit.

paragraph: Supreme, a skateboard and apparel brand established in 1994, have been accused of taking their logo, the white word "Supreme" on a red box, from Kruger's signature style. James Jebbia, founder of Supreme, has admitted that the logo was taken from Kruger's work. Kruger herself had not commented on this issue until a recent lawsuit between Supreme and Leah McSweeney, founder of Married to the Mob (MTTM), a women's street clothing brand. MTTM used the Supreme logo to make a "Supreme Bitch" logo that was printed on T-shirts and hats. In response, Kruger said, "What a ridiculous clusterfuck of totally uncool jokers. I make my work about this kind of sadly foolish farce. I'm waiting for all of them to sue me for copyright infringement." Eventually the lawsuits were dropped on agreement that McSweeney could continue to use the words "Supreme Bitch" if it was "not in the way Barbara Kruger does."

paragraph: Section::::Books.

paragraph: BULLET::::- "My Pretty Pony" (1998), text by Stephen King, illustrations by Barbara Kruger, Library Fellows of the Whitney Museum of American Art

paragraph: BULLET::::- "Barbara Kruger: 7 January to 28 January 1989" by Barbara Kruger, Mary Boone Gallery, 1989

paragraph: BULLET::::- "Barbara Kruger: 5 January to 26 January 1991" by Barbara Kruger, 1991

paragraph: BULLET::::- "Remote Control: Power, Cultures", and the World of Appearances by Barbara Kruger, 1994

paragraph: BULLET::::- "Love for Sale" by Kate Linker, 1996

paragraph: BULLET::::- "Remaking History (Discussions in Contemporary Culture, No 4)" by Barbara Kruger, 1998

paragraph: BULLET::::- "Thinking of You", 1999 (The Museum of Contemporary Art, Los Angeles)

paragraph: BULLET::::- "Barbara Kruger" by Angela Vettese, 2002

paragraph: BULLET::::- "Money Talks" by Barbara Kruger and Lisa Phillips, 2005

paragraph: BULLET::::- "Barbara Kruger" by Barbara Kruger, Rizzoli 2010

paragraph: Section::::Film and video.

paragraph: BULLET::::- "The Globe Shrinks". 2010

paragraph: BULLET::::- "Pleasure, Pain, Desire, Disgust". 1997

paragraph: BULLET::::- "Twelve". 2004

paragraph: BULLET::::- "Bulls on Parade" video clip, Rage Against The Machine (1996)

paragraph: BULLET::::- "Art in the Twenty-First Century". 2001

paragraph: BULLET::::- "Cinefile: Reel Women". 1995

paragraph: BULLET::::- "Picturing Barbara Kruger". 2015

paragraph: Section::::See also.

paragraph: BULLET::::- "You Are Not Yourself", 1981 work by Kruger

paragraph: BULLET::::- Feminist art movement in the United States

paragraph: BULLET::::- Shepard Fairey

paragraph: BULLET::::- Emi Fontana

paragraph: BULLET::::- Jenny Holzer

paragraph: BULLET::::- Martin Firrell

paragraph: BULLET::::- Louise Lawler

paragraph: BULLET::::- Cindy Sherman

paragraph: BULLET::::- Mike Kelley

paragraph: BULLET::::- Joel Wachs, Los Angeles City Council member who helped Kruger get permission for an outdoor art piece

paragraph: Section::::Literature.

paragraph: BULLET::::- Heyd, Milly. 1999. "Mutual Reflections: Jews and Blacks in American Art." New Brunswick, New Jersey: Rutgers University Press. .

paragraph: BULLET::::- Hyman, Paula E., Moore, Beborah Dash. 1998. "Jewish Women in America. An Historical Encyclopedia." New York, NY: Routledge. Sponsored by The American Jewish Historical Society. .

paragraph: BULLET::::- Janson, H.W., Janson, Anthony F. "History of Art". Harry N. Abrams, Inc., Publishers. 6 edition. January 1, 2005.

paragraph: BULLET::::- Kruger, Barbara. 1982. ""Taking" Pictures." "Screen" 23 (2): 90-96.

paragraph: BULLET::::- Linker, Kate. "Love For Sale: Words and Pictures of Barbara Kruger". New York: Harry N. Abrams Inc., 1996.

paragraph: BULLET::::- "Femme brut(e)", [exhibition catalogue] New London: Lyman Allyn Art Museum, 2006.

paragraph: BULLET::::- "Barbara Kruger" ACCA Education Kit. Australian Centre for Contemporary Art. http://www.accaonline.org.au/Assets/12/1/BarbaraKrugeredkit-1.pdf

paragraph: BULLET::::- Rankin, Aimee. 1987. ""Difference" and Deference." "Screen" 11 (2): 91-101.

paragraph: Section::::External links.

paragraph: BULLET::::- Biography, interviews, essays, artwork images and video clips from PBS series "" - Season 1 (2001).

paragraph: BULLET::::- Kruger collection at the Broad Art Foundation

paragraph: BULLET::::- Venice Biennale Awards Kruger

paragraph: BULLET::::- "Current exhibitions and connection to galeries at Artfacts.Net"

paragraph: BULLET::::- "BOMB Magazine" Interview with Barbara Kruger and Richard Prince (Spring, 1982)

paragraph: BULLET::::- "Barbara Kruger", Art History Archive

paragraph: BULLET::::- "Interview Magazine" Interview with Barbara Kruger (February 2013)

paragraph: BULLET::::- Barbara Kruger Photoshop Tutorial

paragraph: BULLET::::- "Smithsonian Magazine" Interview with Barbara Kruger (July 2012)

alias:
Barbarah Ḳruger
Barbarah Kruger
Barabra Kruger

description: American artist

enwikiquote_title: Barbara Kruger

wikidata_label: Barbara Kruger

wikipedia_title: Barbara Kruger


text:
Saint-Germain-de-Joux
Créteil
French
World War Two
Marie Laure Tardieu
Theatre of the Absurd
Black Apollo Press
Julio Cortázar
Rayuela
Germaine Tailleferre
Les Six
Caroline Luigini
Jean René Bazaine

categories: 1995 deaths,People from Ain,1903 births,20th-century French poets,20th-century French dramatists and playwrights,Lycée Condorcet alumni

paragraph: Jean Tardieu

paragraph: Jean Tardieu (born in Saint-Germain-de-Joux, Ain, 1 November 1903, died in Créteil, Val-de-Marne, 27 January 1995) was a French artist, musician, poet and dramatic author.

paragraph: Section::::Life and career.

paragraph: He earned a degree in literature and worked for a publishing house. He published several poetry collections in the 1930s before starting to write for the stage. After World War Two, Tardieu entered the world of radio and worked his way to head of dramatic programming and then director of programs at France-Music. The quality and success of French National Public Radio after World War Two has been attributed largely to Jean Tardieu.

paragraph: He was married to pteridologist Marie Laure Tardieu.

paragraph: Tardieu's works mingled with the ideals of the French New Theatre and used comedy to pick apart more traditional theatre. He is often associated with the Theatre of the Absurd.

paragraph: Some of his work has been translated into English, including:

paragraph: BULLET::::- "The Underground Lovers, and other experimental plays"

paragraph: BULLET::::- "Going...Going...Gone! The Client Dies Twice: Three Plays" (Black Apollo Press, )

paragraph: BULLET::::- "The River Underground: Selected Poems & Prose"

paragraph: Some of his work is present in Julio Cortázar's 1963 novel "Rayuela" ("Hopscotch"). Tardieu's work is included in Chapter 152, entitled "The Abuse of Consciousness".

paragraph: The French composer Germaine Tailleferre of Les Six, who was a harp student of Tardieu's mother Caroline Luigini and who first met Tardieu as a child, set several of Tardieu's poems to music notably in the "Concerto des Vaines Paroles" for Baritone Voice, Piano and Orchestra and in the cycle "Trois Poèmes de Jean Tardieu" for Voice and Piano.

paragraph: He was a great friend of Jean René Bazaine who turned his poem "L'Ombre, la branche" into a fine illustrated art book.( Maeght Éditeur, 1977: 150 ex. with 16 colored litho's, 50 ex. with three added litho's.)

description: French writer

wikidata_label: Jean Tardieu

wikipedia_title: Jean Tardieu


text:
Anaheim
California
American
Bardeux
Eazy-E
Ruthless Records
Power of a Woman
MCA Records
Dr. Dre
Grammy Awards
Manhole
Tura Satana
My Ruin
My Ruin
Vintage Curses
John Waters
Iggy Pop
Power of a Woman
Vintage Curses
Official Myspace
Blasphemous Girl Designs
BGD
Manhole/Tura Satana on YouTube
The Power of a Woman on YouTube

categories: American female rappers,My Ruin members,Nu metal singers,Living people,21st-century American rappers,Alternative metal musicians,Gangsta rappers,American female heavy metal singers,1965 births,Musicians from Anaheim, California,Ruthless Records artists

paragraph: Tairrie B

paragraph: Tairrie B (born Theresa Beth; January 18, 1965 in Anaheim, California) is an American singer and rapper.

paragraph: Tairrie B started her music career as part of the female dance group Bardeux. After the release of their debut single, "Three-Time Lover", in 1987, she left the group. Under the tutelage of Eazy-E, she was later signed to his label Ruthless Records (under a new imprint called Comptown Records) and released her first album, "Power of a Woman", which, unlike usual Ruthless fare, was distributed by MCA Records. Tairrie B alleges she was assaulted by Dr. Dre at the 1990 Grammy Awards for not collaborating with him on her first album:

paragraph: "Everyone with NWA – like Above the Law and The D.O.C. – whenever they do an album, all of the guys appear on the last track. So they were going to do that with me at one point and Ice Cube was gonna write lyrics to a track called 'I Ain't Your Bitch'." She refused, and rewrote the track as a diatribe against her labelmates. When Dr. Dre heard the track, he turned up at the awards ceremony party, where he punched Tairrie "twice – once in the mouth and once in the eye. He hit me like Tyson, but I took it – I don't know how."

paragraph: It turned out to be the only Comptown Records album release. Tairrie B later began working on her second full-length album "Single White Female", but before releasing it decided to change her musical direction away from rap. After being released from her contract by Eazy-E, just a few weeks before his 1995 death, she then formed Manhole (later renamed Tura Satana), My Ruin and LVRS.

paragraph: In December 2008, Tairrie B married her long-time partner and guitarist of My Ruin Mick Murphy. She stated in the band's Myspace blog that she had changed her last name to Murphy, but would continue to use the name Tairrie B in music.

paragraph: In August 2015, Tairrie B returned to her rap roots with her third studio rap album "Vintage Curses". On October 30, 2015, cult director John Waters commented on Tairrie B’s rap career and legacy in his interview with Iggy Pop on BBC Radio 6 just before playing "Ruthless Bitch" saying, "..she was very much a part of the story, she was the first white girl rapper I remember."

paragraph: Section::::Discography.

paragraph: Studio albums

paragraph: BULLET::::- "Power of a Woman" (1990)

paragraph: BULLET::::- "Vintage Curses" (2015)

paragraph: Demos

paragraph: BULLET::::- "Single White Female" (recorded 1993; released 2010)

paragraph: Section::::External links.

paragraph: BULLET::::- Official Myspace

paragraph: BULLET::::- Blasphemous Girl Designs

paragraph: BULLET::::- BGD

paragraph: BULLET::::- Manhole/Tura Satana on YouTube

paragraph: BULLET::::- The Power of a Woman on YouTube

alias:
Theresa Beth
Tairrie B Murphy

description: American rapper and metal singer

wikidata_label: Tairrie B

wikipedia_title: Tairrie B


text:
Bordeaux
France
Sainte-Adèle, Quebec
Canada
pin-up
Lui
Dalida
Place Dalida
Fifth Republic
Marianne
Brigitte Bardot
Mireille Mathieu

categories: French illustrators,French sculptors,Pin-up artists,2014 deaths,French male sculptors,1930 births,French erotic artists

paragraph: Aslan (artist)

paragraph: Aslan (born Alain Gourdon), (23 May 1930; Bordeaux, France – 11 February 2014; Sainte-Adèle, Quebec, Canada) was a French painter, sculptor and pin-up artist. He is mostly famous in France for his pin ups. He contributed to "Lui" from the creation of the magazine in 1964 to the early eighties, providing a monthly pin up.

paragraph: He is the sculptor of the Dalida's funerary statue on her tomb from 1987, and her bronze bust that was erected on Place Dalida in 1997. He also sculpted the Fifth Republic Marianne as Brigitte Bardot in 1970, followed by the Mireille Mathieu Marianne.

description: French French painter, sculptor and pin-up artist;  album cover designer

wikidata_label: Aslan

wikipedia_title: Aslan (artist)


text: Porphyrogennetos

text: Purple-born

text: porphyry

text: Emperor

text: Macedonian dynasty

text: Byzantine Empire

text: Leo VI

text: Zoe Karbonopsina

text: Alexander

text: Romanos Lekapenos

text: Helena

text: De Administrando Imperio

text: De Ceremoniis

text: De Thematibus

text: Vita Basilii

text: nickname

text: epithet

text: legitimized

text: line of succession

text: born "in the purple"

text: Constantinople

text: Alexander

text: regency

text: Nicholas Mystikos

text: magistroi

text: John Eladas

text: Stephen

text: rhaiktor

text: John Lazanes

text: Constantine Doukas

text: Tsar Simeon

text: Bulgaria

text: Zoe

text: Leo Phokas

text: admiral

text: Romanos Lekapenos

text: Helena Lekapene

text: basileopatōr

text: Caesar

text: majority

text: Christopher Lekapenos

text: Stephen

text: Constantine

text: Prote

text: Romanos II

text: dromon

text: Arab

text: Crete

text: Germanicea

text: Euphrates

text: Hamdanid

text: Sayf al-Daula

text: Nikephoros Phokas

text: Hadath

text: Syria

text: John Tzimiskes

text: Samosata

text: Mesopotamia

text: Greek fire

text: caliph

text: Cordoba

text: Abd ar-Rahman III

text: Otto I, Holy Roman Emperor

text: Olga of Kiev

text: Kievan Rus'

text: Christianity

text: godfather

text: Romanos II

text: Theophano

text: De Ceremoniis

text: Liutprand of Cremona

text: De Administrando Imperio

text: Theophanes the Confessor

text: Basil I

text: John Julius Norwich

text: Helena Lekapene

text: Romanos I

text: Romanos II

text: Theodora

text: John I Tzimiskes

text: List of Byzantine emperors

text: De administrando Imperio chapters 29–36

text: Internet Archive

categories: Medieval child rulers,Macedonian dynasty,959 deaths,960s in the Byzantine Empire,930s in the Byzantine Empire,950s in the Byzantine Empire,905 births,10th-century Byzantine writers,10th-century Byzantine emperors,Byzantine hymnographers,Porphyrogennetoi,920s in the Byzantine Empire,Constantine VII,940s in the Byzantine Empire,Patrons of literature,910s in the Byzantine Empire

paragraph: Constantine VII

paragraph: Constantine VII Porphyrogennetos or Porphyrogenitus ("the Purple-born", that is, born in the porphyry (a hard, purple-colored, decorative stone) paneled imperial bed chambers; ; 17–18 May 905 – 9 November 959) was the fourth Emperor of the Macedonian dynasty of the Byzantine Empire, reigning from 913 to 959. He was the son of the emperor Leo VI and his fourth wife, Zoe Karbonopsina, and the nephew of his predecessor, the emperor Alexander.

paragraph: Most of his reign was dominated by co-regents: from 913 until 919 he was under the regency of his mother, while from 920 until 945 he shared the throne with Romanos Lekapenos, whose daughter Helena he married, and his sons. Constantine VII is best known for his four books, "De Administrando Imperio" (bearing in Greek the heading Πρὸς τὸν ἴδιον υἱὸν Ῥωμανόν), "De Ceremoniis" (Περὶ τῆς Βασιλείου Τάξεως), "De Thematibus" (Περὶ θεμάτων Άνατολῆς καὶ Δύσεως), and "Vita Basilii" (Βίος Βασιλείου).

paragraph: His nickname alludes to the Purple Room of the imperial palace, decorated with porphyry, where legitimate children of reigning emperors were normally born. Constantine was also born in this room, although his mother Zoe had not been married to Leo at that time. Nevertheless, the epithet allowed him to underline his position as the legitimized son, as opposed to all others who claimed the throne during his lifetime. Sons born to a reigning Emperor held precedence in the Eastern Roman line of succession over elder sons not born "in the purple".

paragraph: Section::::Reign.

paragraph: Constantine was born in Constantinople in 905, an illegitimate son of Leo VI before an uncanonical fourth marriage. To help legitimize him, his mother gave birth to him in the Purple Room of the imperial palace, hence his nickname "Porphyrogennetos". He was symbolically elevated to the throne as a two-year-old child by his father and uncle on May 15, 908.

paragraph: In June 913, as his uncle Alexander lay dying, he appointed a seven-man regency council for Constantine. It was headed by the Patriarch Nicholas Mystikos, the two "magistroi" John Eladas and Stephen, the "rhaiktor" John Lazanes, the otherwise obscure Euthymius and Alexander's henchmen Basilitzes and Gabrielopoulos. Following Alexander's death, the new and shaky regime survived the attempted usurpation of Constantine Doukas, and Patriarch Nicholas Mystikos quickly assumed a dominant position among the regents.

paragraph: Patriarch Nicholas was presently forced to make peace with Tsar Simeon of Bulgaria, whom he reluctantly recognized as Bulgarian emperor. Because of this unpopular concession, Patriarch Nicholas was driven out of the regency by Constantine's mother Zoe. She was no more successful with the Bulgarians, who defeated her main supporter, the general Leo Phokas, in 917. In March 919 she was replaced as regent by the admiral Romanos Lekapenos, who married his daughter Helena Lekapene to Constantine. Romanos used his position to advance to the ranks of "basileopatōr" in May 919, to "kaisar" (Caesar) in September 920, and finally to co-emperor in December 920. Thus, just short of reaching nominal majority, Constantine was eclipsed by a senior emperor.

paragraph: Constantine's youth had been a sad one due to his unpleasant appearance, his taciturn nature, and his relegation to the third level of succession, behind Christopher Lekapenos, the eldest son of Romanos I Lekapenos. Nevertheless, he was a very intelligent young man with a large range of interests, and he dedicated those years to studying the court's ceremonial.

paragraph: Romanos kept and maintained power until 944, when he was deposed by his sons, the co-emperors Stephen and Constantine. Romanos spent the last years of his life in exile on the Island of Prote as a monk and died on June 15, 948. With the help of his wife, Constantine VII succeeded in removing his brothers-in-law, and on January 27, 945, Constantine VII became sole emperor at the age of 39, after a life spent in the shadow. Several months later, Constantine VII crowned his own son Romanos II co-emperor. Having never exercised executive authority, Constantine remained primarily devoted to his scholarly pursuits and relegated his authority to bureaucrats and generals, as well as to his energetic wife Helena Lekapene.

paragraph: In 949 Constantine launched a new fleet of 100 ships (20 "dromons", 64 "chelandia", and 10 galleys) against the Arab corsairs hiding in Crete, but like his father's attempt to retake the island in 911, this attempt also failed. On the Eastern frontier things went better, even if with alternate success. In 949 the Byzantines conquered Germanicea, repeatedly defeated the enemy armies, and in 952 they crossed the upper Euphrates. But in 953 the Hamdanid "amir" Sayf al-Daula retook Germanicea and entered the imperial territory. The land in the east was eventually recovered by Nikephoros Phokas, who conquered Hadath, in northern Syria, in 958, and by the general John Tzimiskes, who one year later captured Samosata, in northern Mesopotamia. An Arab fleet was also destroyed by Greek fire in 957. Constantine's efforts to retake themes lost to the Arabs were the first such efforts to have any real success.

paragraph: Constantine had active diplomatic relationships with foreign courts, including those of the caliph of Cordoba Abd ar-Rahman III and of Otto I, Holy Roman Emperor. In the autumn of 957 Constantine was visited by Olga of Kiev, regent of the Kievan Rus'. The reasons for this voyage have never been clarified; but she was baptised a Christian with the name Helena, and sought Christian missionaries to encourage her people to adopt Christianity. According to legends, Constantine VII fell in love with Olga, however she found the way to refuse him by tricking him to become her godfather. When she was baptized, she said it was inappropriate for a godfather to marry his goddaughter.

paragraph: Constantine VII died at Constantinople in November 959 and was succeeded by his son Romanos II. It was rumored that Constantine had been poisoned by his son or his daughter-in-law Theophano.

paragraph: Section::::Literary and political activity.

paragraph: Constantine VII was renowned for his abilities as a writer and scholar. He wrote, or had commissioned, the works "De Ceremoniis" ("On Ceremonies", in Greek, Περί τῆς Βασιλείου Τάξεως), describing the kinds of court ceremonies (also described later in a more negative light by Liutprand of Cremona); "De Administrando Imperio" ("On the Administration of the Empire", bearing in Greek the heading Προς τον ίδιον υιόν Ρωμανόν), giving advice on running the Empire internally and on fighting external enemies; a history of the Empire covering events following the death of the chronographer Theophanes the Confessor in 817; and "Excerpta Historica" ("Excerpts from the Histories"), a collection of excerpts from ancient historians (many of whose works are now lost) in four volumes (1. De legationibus. 2. De virtutibus et vitiis. 3. De insidiis. 4. De sententiis.) Also amongst his historical works is a history eulogizing the reign and achievements of his grandfather, Basil I ("Vita Basilii", Βίος Βασιλείου). These books are insightful and of interest to the historian, sociologist, and anthropologist as a source of information about nations neighbouring the Empire. They also offer a fine insight into the Emperor himself.

paragraph: In his book, "A Short History of Byzantium", John Julius Norwich refers to Constantine VII as "The Scholar Emperor". Norwich describes Constantine:

paragraph: He was, we are told, a passionate collector—not only of books and manuscripts but works of art of every kind; more remarkable still for a man of his class, he seems to have been an excellent painter. He was the most generous of patrons—to writers and scholars, artists and craftsmen. Finally, he was an excellent Emperor: a competent, conscientious and hard-working administrator and an inspired picker of men, whose appointments to military, naval, ecclesiastical, civil and academic posts were both imaginative and successful. He did much to develop higher education and took a special interest in the administration of justice.

paragraph: In 947, Constantine VII ordered the immediate restitution of all peasant lands, without compensation; by the end of his reign, the condition of the landed peasantry, which formed the foundation of the whole economic and military strength of the Empire, was better off than it had been for a century.

paragraph: In "The Manuscript Tradition of Polybius", John Michael Moore (CUP, 1965) provides a useful summary of the commission by Porphyrogenitus of the Constantine Excerpts:

paragraph: He felt that the historical studies were being seriously neglected, mainly because of the bulk of the histories. He therefore decided that a selection under fifty-three titles should be made from all the important historians extant in Constantinople; thus he hoped to assemble in a more manageable compass the most valuable parts of each author. ... Of the fifty-three titles into which the excerpts were divided, only six have survived: "de Virtutibus et Vitiis; de Sententiis; de Insidiis; de Strategematis; de Legationibus Gentium ad Romanos; de Legationibus Romanorum ad Gentes". The titles of only about half the remaining forty-seven sections are known.

paragraph: Section::::Family.

paragraph: By his wife Helena Lekapene, the daughter of Emperor Romanos I, Constantine VII had several children, including:

paragraph: BULLET::::- Leo, who died young.

paragraph: BULLET::::- Romanos II.

paragraph: BULLET::::- Zoe. Sent to a convent.

paragraph: BULLET::::- Theodora, who married Emperor John I Tzimiskes.

paragraph: BULLET::::- Agatha. Sent to a convent.

paragraph: BULLET::::- Theophano. Sent to a convent.

paragraph: BULLET::::- Anna. Sent to a convent.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Byzantine emperors

paragraph: Section::::Sources.

paragraph: BULLET::::- Constantine VII, "De ceremoniis", ed. J. Reiske (2 vols., 1829, 1830). English translation 'The Book of Ceremonies' accompanying the Greek text in 2 volumes by Ann Moffatt and Maxeme Tall, Canberra 2012 (Byzantina Australiensia 18).

paragraph: BULLET::::- Constantine VII, 'Story of the Image of Edessa', tr. B. Slater, J. Jackson, in I. Wilson, "The Turin Shroud" (1978), p. 235-51

paragraph: BULLET::::- Constantine VII, "Three treatises on Imperial military expeditions", ed. tr. J.F. Haldon (1990).

paragraph: BULLET::::- 275

paragraph: Section::::External links.

paragraph: BULLET::::- Opera Omnia by Migne Patrologia Graeca with analytical indexes

paragraph: BULLET::::- De administrando Imperio chapters 29–36 at the Internet Archive

alias: Emperor of the East Constantinus VII Porphyrogenitus

alias: Emperor of the East Constantine VII Porphyrogenitus

alias: Emperor of the East Constantin VII Porfirogenetul

description: Byzantine emperor

wikidata_label: Constantine VII

wikipedia_title: Constantine VII