text: installation

text: artist

text: assemblage

text: sculptor

text: Nancy Reddin Kienholz

text: Fairfield, Washington

text: carpentry

text: drafting

text: religious fundamentalist

text: Eastern Washington College of Education

text: Whitworth College

text: Spokane

text: psychiatric hospital

text: Los Angeles

text: avant-garde

text: Michael Bowen

text: Walter Hopps

text: Ferus Gallery

text: collage

text: relief

text: brothel

text: jukebox

text: documenta

text: Los Angeles County Museum of Art

text: Hope, Idaho

text: Conceptual Art

text: found object

text: flea market

text: parakeet

text: Whitney Museum

text: goldfish

text: goldfish bowls

text: mental illness

text: moral hypocrisy

text: satirical

text: antiestablishment

text: funk art

text: San Francisco

text: atheist

text: Spokane, Washington

text: outsider art

text: San Francisco Museum of Modern Art

text: Missoula Art Museum

text: Missoula, Montana

text: Nancy Reddin Kienholz

text: Europe

text: Berlin

text: Volksempfänger

text: National Socialist

text: Germany

text: German Academic Exchange Service

text: Jannis Kounellis

text: Wolf Vostell

text: Hope

text: Idaho

text: Guggenheim Fellowship

text: Francis Bacon

text: Jasper Johns

text: Peter Shelton

text: heart attack

text: diabetes

text: Robert Hughes

text: Packard

text: Chianti

text: bagpipes

text: posthumous

text: Whitney Museum of American Art

text: Bowers Museum

text: Dayton Art Institute

text: Honolulu Museum of Art

text: National Gallery of Art

text: Oakland Museum of California

text: San Francisco Museum of Modern Art

text: Smithsonian American Art Museum

text: University of Arizona Museum of Art

text: Los Angeles County Museum of Art

text: Whitney Museum of American Art

text: art conservators

text: clothes moth

text: Getty Conservation Institute

text: J. Paul Getty Museum

text: National Gallery

text: red light district

text: Amsterdam, Netherlands

text: New York City

text: castration

text: Art Basel

text: Prada Foundation

text: installation art

text: assemblage art

text: conceptual art

text: performance art

text: Whitney Museum of American Art

text: National Gallery, London

text: Interview of Edward Kineholz

text: Solo and Group Exhibitions

text: LA Louver

text: Edward Kienholz. Back Seat Dodge '38.

text: LACMA

text: Edward Kienholz

text: Library Maxima Moshkova

text: The American Museum of Beat Art

text: "The Cool School"

text: Independent Lens

text: Edward Kienholz

text: Kadist Art Foundation

categories: Sculptors from Washington (state),20th-century American sculptors,American people of Swiss descent,20th-century American artists,Guggenheim Fellows,American contemporary artists,Eastern Washington University alumni,Sculptors from California,Art in the Greater Los Angeles Area,American multimedia artists,1994 deaths,American male sculptors,1927 births,American installation artists

paragraph: Edward Kienholz

paragraph: Edward Kienholz (October 23, 1927 – June 10, 1994) was an American installation artist and assemblage sculptor whose work was highly critical of aspects of modern life. From 1972 onwards, he assembled much of his artwork in close collaboration with his artistic partner and fifth wife, Nancy Reddin Kienholz. Throughout much of their career, the work of the Kienholzes was more appreciated in Europe than in their native United States, though American museums have featured their art more prominently since the 1990s.

paragraph: Art critic Brian Sewell called Edward Kienholz "the least known, most neglected and forgotten American artist of Jack Kerouac's Beat Generation of the 1950s, a contemporary of the writers Allen Ginsberg, William Burroughs and Norman Mailer, his visual imagery at least as grim, gritty, sordid and depressing as their literary vocabulary".

paragraph: Section::::Early life.

paragraph: Edward Ralph Kienholz was born in Fairfield, Washington, in the dry eastern part of the state. He grew up on a wheat farm, learning carpentry, drafting and mechanical skills. His father was strict, and his mother was a religious fundamentalist; the rebellious son longed to escape this constricted environment. He studied art at Eastern Washington College of Education and, briefly, at Whitworth College in Spokane, but did not receive any formal degree. After a series of odd jobs, working as an orderly in a psychiatric hospital, manager of a dance band, used car salesman, caterer, decorator and vacuum cleaner salesman, Kienholz settled in Los Angeles, where he became involved with the avant-garde art scene of the day.

paragraph: Section::::Artistic development.

paragraph: In 1956, Kienholz opened the NOW Gallery, for which Michael Bowen designed the sign; that year he met grad student Walter Hopps, who owned the Syndell Gallery. They co-organized the All-City Art Festival, then in 1957, with poet Bob Alexander, they opened the Ferus Gallery on North La Cienega Boulevard. The Ferus Gallery soon became a focus of avant garde art and culture in the Los Angeles area.

paragraph: Despite his lack of formal artistic training, Kienholz began to employ his mechanical and carpentry skills in making collage paintings and reliefs assembled from materials salvaged from the alleys and sidewalks of the city. In 1958 he sold his share of the Ferus Gallery to buy a Los Angeles house and studio and to concentrate on his art, creating free-standing, large-scale environmental tableaux. He continued to participate in activities at the Ferus Gallery, mounting a show of his first assemblage works in 1959.

paragraph: In 1961, Kienholz completed his first large-scale installation, "Roxy's", a room-sized environment which he showed at the Ferus Gallery in 1962. Set in the year 1943, "Roxy's" depicts Kienholz's memories of his youthful encounters in a Nevada brothel complete with antique furniture, a 30s era jukebox, vintage sundries, and satirical characters assembled from castoff pieces of junk. This artwork later caused a stir at the documenta 4 exhibition in 1968.

paragraph: A 1966 show at the Los Angeles County Museum of Art (LACMA) drew considerable controversy over his assemblage, "Back Seat Dodge ‘38" (1964). The Los Angeles County Board of Supervisors called it "revolting, pornographic and blasphemous" and threatened to withhold financing for the museum unless the tableau was removed from view. A compromise was reached under which the sculpture's car door would remain closed and guarded, to be opened only on the request of a museum patron who was over 18, and only if no children were present in the gallery. The uproar led to more than 200 people lining up to see the work the day the show opened. Ever since, "Back Seat Dodge ’38" has drawn crowds. LACMA did not formally acquire the work until 1986.

paragraph: In 1966, Kienholz began to spend summers in Hope, Idaho, while still maintaining studio space in Los Angeles. Also around that time, he produced a series of "Concept Tableaux", which consisted of framed text descriptions of artwork that did not yet exist. He would sell these works of early Conceptual Art (though the term was not in widespread use at the time) for a modest sum, giving the buyer the right (upon payment of a larger fee) to have Kienholz actually construct the artwork. He sold a number of "Concept Tableaux", but only "The State Hospital" progressed to a completed artwork.

paragraph: Kienholz's assemblages of found objects—the detritus of modern existence, often including figures cast from life—are at times vulgar, brutal, and gruesome, confronting the viewer with questions about human existence and the inhumanity of twentieth-century society. Regarding found materials he said, in 1977, "I really begin to understand any society by going through its junk stores and flea markets. It is a form of education and historical orientation for me. I can see the results of ideas in what is thrown away by a culture."

paragraph: Kienholz occasionally incorporated defunct or operating radios or televisions into their works, sometimes adding sound and moving images to the overall effect. Live animals were selectively included as crucial elements in some installations, providing motion and sound that contrasted starkly with frozen tableaus of decay and degradation. For example, "The Wait", a dismal scene of a lonely skeletal woman surrounded by memories and waiting for death, incorporates a cage with a live parakeet cheerfully chirping and hopping about. The bird is considered an integral part of the installation, but requires special attention to insure that it remains healthy and active, as described in the Whitney Museum's online catalog and video. Another well-known work, "The State Hospital", incorporates a pair of black goldfish swimming in each of two glass goldfish bowls representing the head of an inmate suffering with mental illness.

paragraph: Kienholz's work commented savagely on racism, aging, mental illness, sexual stereotypes, poverty, greed, corruption, imperialism, patriotism, religion, alienation, and most of all, moral hypocrisy. Because of their satirical and antiestablishment tones, their works have often been linked to the funk art movement based in San Francisco in the 1960s.

paragraph: Although he was an atheist and despised feigned religiosity, Keinholz carefully preserved an anonymous store window shrine discovered in Spokane, Washington. Calling this found outsider artwork "The Jesus Corner", Keinholz exhibited it in a Spokane museum in 1984, and then showed it at the San Francisco Museum of Modern Art. Ten years later, Keinholz insisted on selling it at a reduced price to the Missoula Art Museum in Missoula, Montana, to insure that it would be on view in an environment he felt comfortable with.

paragraph: Section::::Collaboration with Nancy Reddin (1972–1994).

paragraph: In 1981, Ed Kienholz officially declared that all his work from 1972 on should be retrospectively understood to be co-authored by, and co-signed by, his fifth wife and collaborator, former photojournalist Nancy Reddin Kienholz. Collectively, they are referred to as "Kienholz". Their work has been widely acclaimed, particularly in Europe.

paragraph: In the early 1970s, Kienholz received a grant that permitted him to work in Berlin. His most important works during this period were based on the Volksempfängers (radio receiving apparatus from the National Socialist period in Germany). In 1973 he was guest artist of the German Academic Exchange Service in Berlin. In 1974 Edward Kienholz performed with Jannis Kounellis, Wolf Vostell and other artists in Berlin at the "ADA - Aktionen der Avantgarde".

paragraph: In 1973, Kienholz and Reddin moved from Los Angeles to Hope, Idaho and for the next twenty years they divided their time between Berlin and Idaho. In 1976 he received a Guggenheim Fellowship. In 1977 he opened "The Faith and Charity in Hope Gallery" at their Idaho studio, and showed both established and emerging artists, including Francis Bacon, Jasper Johns, Peter Shelton, and Robert Helm. The Keinholzs continued to produce their own new installations and sculptures for exhibition.

paragraph: Edward Kienholz died suddenly in Idaho on June 10, 1994, from a heart attack after hiking in the mountains near their home. He was a chronic smoker who had been struggling with diabetes, which progressively impaired use of his extremities. He was buried in an authentic Kienholz installation; Robert Hughes wrote, "[H]is corpulent, embalmed body was wedged into the front seat of a brown 1940 Packard coupe. There was a dollar and a deck of cards in his pocket, a bottle of 1931 Chianti beside him and the ashes of his dog Smash in the back. He was set for the afterlife. To the whine of bagpipes, the Packard, steered by his widow Nancy Reddin Kienholz, rolled like a funeral barge into the big hole."

paragraph: Section::::Exhibitions.

paragraph: Since Edward's death, Nancy Reddin Kienholz has continued to administer the joint artistic estate, organizing shows and exhibitions.

paragraph: Retrospectives of Kienholz's work have been infrequent, due to the difficulty and expense of assembling fragile, literally room-sized sculptures and installations from widely dispersed collections around the world. Kienholz work has often been difficult to view, both because of its subject matter, and the logistics of displaying it.

paragraph: Relatively few of the major works had been on display in the US, the Kienholz's native land, though American museums have now started to feature their work more prominently, especially after a major retrospective (posthumous) exhibition in 1996 at the Whitney Museum of American Art. The Bowers Museum (Santa Ana, California), the Dayton Art Institute, the Honolulu Museum of Art, the National Gallery of Art (Washington, DC), the Oakland Museum of California, the San Francisco Museum of Modern Art, the Smithsonian American Art Museum, the University of Arizona Museum of Art, Los Angeles County Museum of Art (LACMA), the Weisman Art Museum at the University of Minnesota, Minneapolis, and the Whitney Museum of American Art (New York) are among the public collections holding work by Kienholz.

paragraph: The diverse and freely improvised materials and methods used in Kienholz works pose an unusual challenge to art conservators who try to preserve the artist's original intent and appearances. Treatment of "Back Seat Dodge '38" for clothes moths presented an awkward situation, which was deftly addressed by the Getty Conservation Institute and the J. Paul Getty Museum in behalf of LACMA, the owner of the artwork.

paragraph: In 2009, the National Gallery in London mounted an exhibition of "The Hoerengracht" (Dutch: "Whores' Canal"), a 1980s streetscape installation portraying the red light district of Amsterdam, Netherlands. From May 6 to June 19, 2010, Kienholz's "Roxy's" (1960) was meticulously reconstructed and visible through the aperture of two panoramic windows at David Zwirner Gallery in New York City.

paragraph: In 2011, Kienholz's work was visited with renewed attention in Los Angeles partly as a result of the "Pacific Standard Time" series of exhibitions, which saw his powerful 1972 installation "Five Car Stud" reinstalled at LACMA. The oversized installation is framed by five vehicles parked in a circle, their headlights illuminating a stark racial hatred castration scene. It was exhibited in Los Angeles and Germany in 1972, then purchased by a Japanese collector and kept in storage for almost 40 years, known only through documentary photos from those exhibitions. In September 2011, it was re-installed at LACMA. At Art Basel 2012, it was purchased by the Prada Foundation.

paragraph: Section::::Legacy.

paragraph: Kienholz is acknowledged as a pioneer, as early as 1960 with "Roxy's", of what came to be known as installation art and assemblage art. He also produced early works of conceptual art with his "Concept Tableau" series in the mid-1960s. In 1968, Ed Kienholz's carefully documented and self-consciously outrageous behavior in what has been called the "TWA Incident" revealed aspects of what would later be called "performance art". In spite of his claims to be merely a rough working-class carpenter and mechanic, Kienholz was well aware of his position in the contemporary art scene, and acted assertively to shape his image and legacy.

paragraph: Section::::Further reading.

paragraph: BULLET::::- — Largest book of Kienholz work published before Ed's death; places his art in a broad cultural context as well as asserting its importance in the history of American and modern art.

paragraph: BULLET::::- — Catalog of definitive retrospective (posthumous) exhibition at the Whitney Museum of American Art

paragraph: BULLET::::- — Exhibition catalog of the last major installation assembled by Kienholz before Ed's death, at the National Gallery, London

paragraph: Section::::External links.

paragraph: BULLET::::- Interview of Edward Kineholz, part of Los Angeles Art Community - Group Portrait, Center for Oral History Research, UCLA Library Special Collections, University of California, Los Angeles.

paragraph: BULLET::::- Solo and Group Exhibitions 1961-2010. LA Louver

paragraph: BULLET::::- Ed Kienholz in the National Gallery of Australia's Kenneth Tyler collection

paragraph: BULLET::::- [ Kienholz artist profile page at LA Louver gallery]

paragraph: BULLET::::- Edward Kienholz. Back Seat Dodge '38. LACMA

paragraph: BULLET::::- Edward Kienholz Images of objects (in English) Library Maxima Moshkova (in Russian)

paragraph: BULLET::::- Illustrated essay

paragraph: BULLET::::- McEntire, Frank. "In Life and Death, Ed Kienholz Makes Us Participate." The American Museum of Beat Art

paragraph: BULLET::::- Ed & Nancy Reddin Kienholz at LA Louver Gallery

paragraph: BULLET::::- "The Cool School" "Independent Lens"

paragraph: BULLET::::- — Interactive exploration of a Kienholz installation

paragraph: BULLET::::- — Capsule review of the definitive catalog of Kienholz artwork

paragraph: BULLET::::- Kienholz. The Signs of the Times. Schirn Kunsthalle Frankfurt Video: Kienholz Exhibition Frankfurt, Germany, October 22, 2011. - January 29, 2012.

paragraph: BULLET::::- Edward Kienholz at Kadist Art Foundation

description: American artist

wikidata_label: Edward Kienholz

wikipedia_title: Edward Kienholz


text:
world chess champion
Bobby Fischer
Supreme Court of Iceland
Miyoko Watai

categories: Sportspeople from Tokyo,Chess woman International Masters,Bobby Fischer,1945 births,Japanese pharmacists,Living people,Japanese chess players

paragraph: Miyoko Watai

paragraph: In 1973 she met then world chess champion Bobby Fischer, and visited him several times for the next three decades. Starting in 2000 they reportedly lived together in a "de facto" marriage at her home. After Bobby Fischer's detention on July 13, 2004 for trying to travel with a revoked U.S. passport, she campaigned for his release.

paragraph: They were reportedly married in August 2004. According to an attorney representing a competing claim to Fischer's estate, the Supreme Court of Iceland ruled in December 2009 that Watai's claim of marriage to Fischer was invalidated because of her failure to present the original of their alleged marriage certificate. However, on March 3, 2011, a district court in Iceland ruled that Miyoko Watai, as Fischer's widow and heir, was entitled to inherit his estate.

paragraph: Section::::External links.

paragraph: BULLET::::- Miyoko Watai chess games at 365Chess.com

description: Japanese women's chess champion, and the general secretary of the Japan Chess Association

wikidata_label: Miyoko Watai

wikipedia_title: Miyoko Watai


text: Arab

text: Persian Gulf

text: James Silk Buckingham

text: pirate

text: eye-patch

text: Charles Belgrave

text: Arabic

text: buccaneer

text: James Silk Buckingham

text: Kuwait

text: Zubarah

text: Qatar

text: Al Khalifa

text: in 1783

text: Bushehr

text: Khor Hassan

text: first Saudi dynasty

text: Bahrain

text: Dammam

text: J. G. Lorimer

text: Muscat

text: Bushehr

text: Said bin Sultan

text: Qatif

text: Shiraz

text: Ras Al Khaimah

text: Balochis

text: Piracy in the Persian Gulf

text: Al-Jalahma

categories: 19th-century Kuwaiti people,18th-century Kuwaiti people,1760s births,19th-century pirates,Kuwaiti pirates,Military personnel who committed suicide,Bedouin tribal chiefs,Qatari pirates,Filicides,1826 deaths,18th-century pirates,Military personnel killed in action,Kuwaiti people with disabilities,Suicides by explosive device

paragraph: Rahmah ibn Jabir Al Jalhami

paragraph: Rahmah ibn Jabir ibn Adhbi Al Jalhami (; c. 1760–1826) was an Arab ruler in the Persian Gulf and was described by his contemporary, the English traveller and author, James Silk Buckingham, as ‘the most successful and the most generally tolerated pirate, perhaps, that ever infested any sea.’

paragraph: As a pirate his reputation was for being ruthless and fearless, and he wore an eye-patch after he lost an eye in battle. He is the earliest documented pirate to have worn an eye-patch. He is described by the former British adviser and historian, Charles Belgrave, as 'one of the most vivid characters the Persian Gulf has produced, a daring freebooter without fear or mercy' (perhaps paradoxically his first name means 'mercy' in Arabic).

paragraph: He began life as a horse dealer and he used the money he saved to buy his first ship and with ten companions began a career of buccaneering. He was so successful that he soon acquired a new craft: a 300-ton boat, manned by 350 men. He would later have as many as 2000 followers, many of them black slaves. At one point his flagship was the 'Al-Manowar' (derived from English).

paragraph: Section::::Name.

paragraph: His name, Rahmah ibn Jabir ibn Adhbi Al Jalhami, means Rahmah son of Jabir son of Adhbi of the Jalahimah. His name should be written 'Al Jalhami' if transliterated from Arabic, as 'Al Jalahimah' is the plural name for his tribe.

paragraph: Section::::Description.

paragraph: Rahmah was described by James Silk Buckingham:

paragraph: Section::::Early life.

paragraph: He was born in Grane (present-day Kuwait) around 1760. Rahmah's father, Jabir bin Adhbi, led their tribe from Kuwait to Zubarah in Qatar around 1766. After his tribe migrated alongside the Al Khalifa, the two had a subsequent falling out after the Al Khalifa refused to share the economic gain made from trade ventures. Rahmah's tribe nonetheless agreed to fight alongside the Al Khalifa in their battle against the Persians in Bahrain in 1783. After Bahrain was annexed by the Al Khalifa, Rahmah's tribe, feeling dissatisfied with their share of the rewards, moved first to Bushehr and eventually to Khor Hassan in northwest Qatar. Over a short course of time, Rahmah overtook his eldest brother Abdullah in a struggle for leadership of the tribe; consequently, the tribe adopted piracy as a livelihood.

paragraph: His base in Khor Hassan, which would serve as his base of operation against the Al Khalifa, was surrounded by a protected bay which contributed to the area's defensive capabilities. He resided in a fort with mud walls and there were only a few huts in the vicinity. As a result of no centralized authority existing in Qatar from the 18th to 19th centuries, Rahmah was able to establish dominion over much of the peninsula for a period after the Al Khalifa relocated to Bahrain.

paragraph: Section::::Alliance with Saudis.

paragraph: Rahmah's alliances with regional powers tended to be on the basis of shared opposition to the Al Khalifa: he formed an alliance with the first Saudi dynasty when it conquered Bahrain, and he founded and relocated to the fort of Dammam in 1809. Though some of his exploits were deemed piratical by the British, J. G. Lorimer, a British historian, remarks on Rahmah's scrupulously-correct conduct and his compliance with the laws of warfare. He generally avoided encounters with British cruisers so that he would not incur their anger. In 1809, after the British expedition of the Pirate Coast, many Qasimi refugees fled to Khor Hassan. Rahmah, the leader of Khor Hassan, reached a compromise with the British in which he agreed not to harbour any fugitivites in return for the sparing of the town. The British also sent a warning to the Saudi amir to demand the prevention of Rahmah from launching any attacks on the British.

paragraph: He influenced the Saudis to launch an invasion of Bahrain in 1809. That greatly strengthened his position in Qatar, rendering him the most powerful tribal leader in the peninsula. Within a short duration, Rahmah had captured eighteen Utub vessels. However, in 1811, the combined forces of Said bin Sultan, Sultan of Muscat and Oman and the Al Khalifa successfully drove out the Wahhabi from Qatar and Bahrain. Rahmah then transferred his headquarters from Khor Hassan to his fort in Dammam.

paragraph: Section::::Alliance with Omanis.

paragraph: In 1816, he allied himself with the rulers of Muscat in their failed invasion of Bahrain, and broke his alliance with the Saudis. The Saudis then destroyed the fort of Dammam in July 1816, and he took refuge in Bushehr, bringing around 500 families with him. Said bin Sultan proposed that he become a subject of Muscat and settle in Oman, but Rahmah refused. He moved back to Dammam in 1818.

paragraph: Section::::Subsequent campaigns.

paragraph: In January 1820, he and his crew were in preparation to launch a naval invasion on Bahrain from Qatif's port but aborted their plans after being warned by the British. The next month, he travelled to Shiraz with three vessels to proffer his assistance to the prince of Shiraz in his planned expedition of Bahrain. His hostilities against Bahrain continued throughout 1821 and 1822; he and his crew went on to capture 7 Bahraini vessels and kill 20 men. He settled in Bushehr from November 1822 until February 1824, whereupon he returned to his residence in Dammam. He went to Muscat at the beginning of 1825 and lent his assistance to Sheikh Tahnoon Bin Shakhbout in his expedition against the Qasimi tribe of Ras Al Khaimah. Near the end of that year, he commenced a series of predatory attacks on Qatif as punishment for the non-payment of the protection tax owed to him. The British decided not to interfere with his actions if his attacks remained confined to the people of Qatif.

paragraph: He soon reshifted his focus to the Al Khalifa and went to war with them at the beginning of 1826. After a great number of casualties on his side, he fled to Bushehr where he sought material and military assistance from the British political resident. Having failed to convince the British for aid, he set off to Dammam with a reinforcement of 35 Balochis from Bushehr and continued waging his war against the Al Khalifa.

paragraph: Section::::Death.

paragraph: He died in his ship "Al-Ghatroushah" in 1826, in a sea battle against the Al-Khalifa ships. Rahmah lit the gunpowder kegs with his eight-year-old son by his side, killing all of his men and the Al-Khalifa men that were raiding his ship, preferring to die by his own hand than to die by the hands of Al-Khalifa.

paragraph: Section::::Legacy.

paragraph: Rahmah's legacy lasted long after his death; in the 1960s Charles Belgrave wrote of how old men in the coffee shops throughout the region would still talk of his exploits.

paragraph: Section::::See also.

paragraph: BULLET::::- Piracy in the Persian Gulf

paragraph: BULLET::::- Al-Jalahma

paragraph: Section::::External links.

paragraph: BULLET::::- Saudi Aramco World article: Rahmah of the Gulf

description: Saudi Arabian commander

wikidata_label: Rahmah al-Jalahimah

wikipedia_title: Rahmah ibn Jabir Al Jalhami


text: Ireland

text: rugby league

text: Rochdale Hornets

text: Betfred Championship

text: Wigan Warriors

text: Oldham

text: Barrow Raiders

text: Widnes Vikings

text: Whitehaven

text: Wigan Warriors

text: National League 1

text: Widnes Vikings

text: Hull Kingston Rovers

text: Rugby Football League

text: cocaine

text: UK Sport

text: Oldham

text: Barrow Raiders

text: Whitehaven

text: Rochdale Hornets

text: Australian Institute of Sport

text: Ireland

text: Swinton

text: Widnes

text: Rochdale Hornets profile

text: BBC report on Allen's ban from rugby

categories: Ireland national rugby league team players,English rugby league players,Doping cases in rugby league,1985 births,English people of Irish descent,Wigan Warriors players,English sportspeople in doping cases,Rugby league second-rows,Widnes Vikings players,Rugby league players from Wigan

paragraph: David Allen (rugby league)

paragraph: David Allen (born 15 September 1985) is an Ireland international rugby league footballer who plays as a forward for the Rochdale Hornets in the Betfred Championship. He previously played for the Wigan Warriors, Oldham, Barrow Raiders, Widnes Vikings and Whitehaven.

paragraph: Section::::Club career.

paragraph: Allen was included in the Wigan Warriors squad in 2003 and become a first team player in 2005. He played 25 matches for Wigan mostly as a substitute and was released at the end of the 2005 season.

paragraph: After being released from Wigan he went on to join National League 1 side Widnes Vikings. He was one of seven ex-Wigan players in the 2006 Widnes side and regularly played in the second row. He played in the 2006 National League 1 Grand Final where Widnes lost 16-29 to Hull Kingston Rovers. At the end of 2006 his contract with Widnes was not renewed after he failed a drug test following the Grand Final game against the Hull KR. Allen was banned from rugby league for 12 months by the Rugby Football League after testing positive for a metabolite of cocaine, doubled to two years following an appeal by UK Sport.

paragraph: After serving his ban, he joined Oldham ahead of the 2009 season. After a brief spell with Barrow Raiders, Allen joined Widnes for the second time in 2010 and was made club captain. He made 26 appearances in the 2012 season and, in October, signed a new contract until the end of the 2014 season. He was released at the end of the 2014 season, and was signed by Whitehaven. Injury prevented him from playing during 2017 and he signed for Rochdale Hornets at the end of the season.

paragraph: Section::::International career.

paragraph: He was included in the 2003 England Academy squad to face the Australian Institute of Sport. He was selected for the 2004 Academy Origin Series and the 2004 England Academy U-18s tour. In 2006 he was selected for Ireland along with six other Widnes players for the country's World Cup qualifying matches.

paragraph: In 2016, he was called up to the Ireland squad for the 2017 Rugby League World Cup European Pool B qualifiers.

paragraph: Section::::Trivia.

paragraph: BULLET::::- Allen's father, John, was a professional player with Swinton.

paragraph: BULLET::::- He attended Fairfield High School in Widnes from 1997–2002.

paragraph: Section::::External links.

paragraph: BULLET::::- Rochdale Hornets profile

paragraph: BULLET::::- BBC report on Allen's ban from rugby

paragraph: BULLET::::- (archived by web.archive.org) David Allen Profile on Wigan Warriors Official Site

description: English rugby league footballer

wikidata_label: David Allen

wikipedia_title: David Allen (rugby league)


text: composer

text: Swabia

text: Donauwörth

text: Augsburg

text: Benedictine

text: Gymnasium

text: conservatory

text: pit

text: pen name

text: née

text: Arnold Schoenberg

text: Hanns Eisler

text: opera

text: radio play

text: Paul Hindemith

text: Kurt Weill

text: Lochham

text: Karl Marx

text: Carl Orff

text: Igor Stravinsky

text: Hermann Scherchen

text: Schott Music

text: radio opera

text: Nazi regime

text: Michael H. Kater

text: York University

text: Alfred Rosenberg

text: Militant League for German Culture

text: diatonic

text: modernist

text: Heinrich Sutermeister

text: 1936 Summer Olympics

text: Art Competition

text: Berlin State Opera

text: Heinz Tietjen

text: Bayreuth Festival

text: Peer Gynt

text: Henrik Ibsen

text: play

text: Joseph Goebbels

text: Gottfried von Einem

text: Carmina Burana

text: STAGMA

text: Reichsmusikkammer

text: denazification

text: Gottfried von Einem

text: Boris Blacher

text: GEMA

text: Bavarian State Opera

text: George Szell

text: Dietrich Fischer-Dieskau

text: National Theatre Munich

text: libretto

text: Heinrich von Kleist

text: Inning am Ammersee

text: Columbus (opera)

text: Die Zaubergeige

text: Count Franz Pocci

text: Peer Gynt

text: Henrik Ibsen

text: Circe (opera)

text: Pedro Calderón de la Barca

text: 17 Tage und 4 Minuten

text: Irische Legende

text: W. B. Yeats

text: Der Revisor

text: Nikolai Gogol

text: Die Verlobung in San Domingo

text: Heinrich von Kleist

text: Heinrich Heine

text: Hans Christian Andersen

text: Carl Diem

text: Jean-Philippe Rameau

text: Furchtlosigkeit und Wohlwollen

text: La tentation de Saint Antoine

text: Klabund

text: Singspiel

text: Heinz Rühmann

text: Libretto

text: Boris Blacher

text: Neue Zeitschrift für Musik

categories: 20th-century classical composers,1901 births,20th-century German composers,Composers awarded knighthoods,German classical composers,Olympic gold medalists in art competitions,Members of the Bavarian Maximilian Order for Science and Art,German male classical composers,Knights Commander of the Order of Merit of the Federal Republic of Germany,Ballet composers,German opera composers,1983 deaths,Male opera composers

paragraph: Werner Egk

paragraph: Werner Egk (, 17 May 1901 – 10 July 1983), born Werner Joseph Mayer, was a German composer.

paragraph: Section::::Early career.

paragraph: He was born in the Swabian town of Auchsesheim, today part of Donauwörth, Germany. His family, of Catholic peasant stock, moved to Augsburg when Egk was six. He studied at a Benedictine Gymnasium (academic high school) and entered the municipal conservatory. Egk demonstrated talents as a composer, graphic artist, and writer, and he moved first to Frankfurt to improve his piano talents and then, in 1921, to Munich. There, working as a theater composer and playing in the pit, he married Elizabeth Karl, a violinist. He derived his pen name "Egk" from his wife's initials: "Elisabeth, geborne Karl" (Elisabeth, née Karl). His only son, Titus, was born in 1924.

paragraph: Egk moved to Berlin in 1928, meeting composers Arnold Schoenberg and Hanns Eisler. He intended to become a cinema composer and accompanied silent films. When radio broadcasting became available to the public, Egk immediately realised its importance as a mass medium and developed operas and radio plays. He was introduced to Hans Fleisch, an important radio executive (also Paul Hindemith's brother-in-law and a Jew), by composer Kurt Weill. He received his first commission for broadcasting from Fleisch's company.

paragraph: He returned to Munich in 1929 to work for the local radio station and settled in Lochham, a suburb. He became associated with musicians , Karl Marx, and especially, Carl Orff, whom he had met in 1921. His music of the period shows a debt to the compositional style of Igor Stravinsky. He also became friends with new-music conductor Hermann Scherchen and the owners of the music publisher, Schott Music in Mainz. His career as a composer took off with the premiere of his radio opera, "Columbus", in July 1933 (staged in April 1934).

paragraph: Section::::Nazi era.

paragraph: Any composer working in Germany at the time had to deal with the Nazi regime coming to power in 1933. Michael H. Kater, Professor of German studies at York University labels Egk "The Enigmatic Opportunist" in his portrait of "Eight German Composers of the Nazi Era", and by far the most extensive evaluation of the composer's wartime connections in English (Kater, 30). As a German of Catholic heritage, Egk was in no danger of falling into disfavor with the regime's racial policies; rather, the professional hardships for Jewish composers and others created opportunities for him. Egk's contact with Scherchen soon lapsed, and the composer developed a complicated relationship as well as a professional rivalry with Orff, whose works ultimately found more lasting success.

paragraph: Initially, Munich's cultural administrators had doubts about the compatibility of Egk's Stravinskian style with a Nazi audience, and he encountered difficulty with Munich's representative for Alfred Rosenberg's "Kampfbund für deutsche Kultur" (Militant League for German Culture), Paul Ehlers.

paragraph: In 1935, he premiered his first opera "Die Zaubergeige" ("The Magic Violin") in Frankfurt am Main. The work channeled Bavarian folksong and a diatonic idiom far less modernist than his earlier, more angular "Columbus". This opera therefore matched Nazi artistic guidelines prescribing folk elements as being close to the people. Swiss composer Heinrich Sutermeister saw the stylistic change as "opportunistic." The success of the work led to a commission for ballet music related to the 1936 Summer Olympics (for which he received a gold medal in the Art Competition) and his appointment as conductor of the Berlin State Opera – a position he held until 1941. Egk's protector in Berlin was Heinz Tietjen, director of the Prussian state theaters and artistic director of the Bayreuth Festival.

paragraph: November 1938 saw the première of his opera "Peer Gynt" based on Henrik Ibsen's play. Propaganda minister Joseph Goebbels wrote in his diary on 1 February 1939: "I am very enthusiastic and so is the Führer. A new discovery for the both of us". Oddly enough, Egk had returned to his more Stravinskian style in the work. More conservative critics found elements in the plot threatening to Nazi ideals of martial grandeur, and they also had difficulties with the reworking of the Nordic plot. One possible interpretation of the event lies in an argument Hitler had with his lieutenant Göring, who had warned Hitler not to go to the opera, "because none of your favorite singers were in it." It has been credibly suggested that Hitler and Goebbels decided to "like" the opera as a "taunt" to Göring for having the audacity to tell Hitler what he could and could not see (Kater 10 and accompanying footnotes, also an oral history from Viennese composer Gottfried von Einem, Vienna, Nov. 30, 1994).

paragraph: As the thirties wore on, Egk was asked, or perhaps commanded, to make official pronouncements about German music, and he received a large commission (never fulfilled) for a large scale opera on Nazi themes. His next major work was the ballet "Joan von Zarissa" in 1940. In the following decade, it was common to pair the work with Orff's "Carmina Burana". In general, Egk's music found much more success in Berlin, and Orff lost to Egk in the prize surrounding the Olympic games composition. Unlike Egk, who enjoyed regular income from his artistic directorship, Orff was also self-employed and much impoverished. This exposed Egk to attack from Orff's partisans, though Egk and his wife continued to see Orff socially. These rivalries impinged on the credibility of witnesses in Egk's trial after the war. From 1941 to 1945 Egk was the leader of the Composer division ("") in the State-Approved Society for the Exploitation of Musical Performing Rights (German: ; STAGMA) which was then under the control of the Nazi Reichsmusikkammer (Reich Music Chamber).

paragraph: Egk never joined the Nazi party and was exonerated in denazification tribunals held in 1947, but the trials were fraught with inaccuracies, including accounts of involvement with the Austrian resistance movement that were highly dubious. Among Egk's defenders were Gottfried von Einem and composer Boris Blacher. Initially his Nazi affiliations were held against him, though only briefly. There are various interpretations regarding the extent of his collaboration:

paragraph: BULLET::::- Egk was never a Nazi, or

paragraph: BULLET::::- Egk was never interested in unfair advantage for himself, or

paragraph: BULLET::::- Egk was barely tolerated by the regime; or,

paragraph: BULLET::::- Egk was an official musician of the Third Reich, who identified himself and his music with the ideals of the Nazis.

paragraph: The truth is probably somewhere in the middle (Kater, 22).

paragraph: Section::::Post-war.

paragraph: His major career began after the war. In Germany, Egk has been dubbed "Komponist des Wiederaufbaus" ("composer of the reconstruction", which followed World War II). Besides being a conductor and composer, he was head of the Berlin Musikhochschule (1950–1952) and important figure of the GEMA since 1950; he was also the first German president of the Confédération Internationale des Sociétés d'Auteurs et Compositeurs (CISAC). In 1954 he became conductor of the Bavarian State Opera with a 20-year contract.

paragraph: His later years saw a constant string of premieres at major European festivals, beginning with "Irische Legende" in 1955, conducted by George Szell and featuring Dietrich Fischer-Dieskau. His opera "Die Verlobung in San Domingo" opened the National Theatre Munich in 1963 and features a libretto by Heinrich von Kleist, pleading for racial tolerance. His late works, however, were almost exclusively instrumental. Exceptional among them are works for winds, including the Divertissement for Ten Wind Instruments (1974) and the Five Pieces for Wind Quintet (1975).

paragraph: Egk died on 10 July 1983 in Inning am Ammersee.

paragraph: Section::::Selected works.

paragraph: Section::::Selected works.:Operas.

paragraph: BULLET::::- "Columbus (opera)". Radio Opera (1933) Revised (1942)

paragraph: BULLET::::- "Die Zaubergeige" (after Count Franz Pocci, libretto by Ludwig Strecker) (1935; Revised 1954)

paragraph: BULLET::::- "Peer Gynt" after Henrik Ibsen (1938)

paragraph: BULLET::::- "Circe (opera)" after Pedro Calderón de la Barca (1945, Premiered 1948; Reworked as an "Opera semibuffa" as "17 Tage und 4 Minuten", 1966)

paragraph: BULLET::::- "Irische Legende" after W. B. Yeats (1955; Revised 1975)

paragraph: BULLET::::- "Der Revisor" after Nikolai Gogol (1957)

paragraph: BULLET::::- "Die Verlobung in San Domingo" after Heinrich von Kleist (1963)

paragraph: Section::::Selected works.:Ballets.

paragraph: BULLET::::- "Joan von Zarissa" for narrator, mixed chorus, soprano, baritone, and orchestra (1940)

paragraph: BULLET::::- two suites for orchestra, the second titled "Tryptich."

paragraph: BULLET::::- 3 chansons (Charles d'Orléans) for 10-part chorus

paragraph: BULLET::::- "Abraxas". Faust-ballet after Heinrich Heine (1948)

paragraph: BULLET::::- Concert suite

paragraph: BULLET::::- "Die chinesische Nachtigall" after Hans Christian Andersen (1953)

paragraph: BULLET::::- Suite "Divertissement" for string orchestra

paragraph: BULLET::::- "Casanova in London" (1969; Extracts as "Englische Suite")

paragraph: Section::::Selected works.:Orchestral works.

paragraph: BULLET::::- "Kleine Symphonie" (1926)

paragraph: BULLET::::- "Olympische Festmusik" (1936; text from Carl Diem)

paragraph: BULLET::::- "Orchester-Sonate" (1947/48)

paragraph: BULLET::::- "Französische Suite" after Jean-Philippe Rameau (1949; reworked as a ballet 1952)

paragraph: BULLET::::- "Allegria" (1952; Ballet 1953)

paragraph: BULLET::::- Variationen über ein karibisches Thema (1959; Ballet "Danza", 1960)

paragraph: BULLET::::- "2. Sonate für Orchester" (1969)

paragraph: BULLET::::- "Spiegelzeit" (1979)

paragraph: BULLET::::- "Musik für eine verschollene Romanze". Overture (1980)

paragraph: BULLET::::- "Der Revisor". Concert suite for trumpet and string orchestra (1981)

paragraph: BULLET::::- "Die Zaubergeige". Overture arranged for wind ensemble (1981)

paragraph: BULLET::::- "Canzona" for cello and orchestra (1982)

paragraph: BULLET::::- "Nachtanz" (Opus postumus, Premiered 1985)

paragraph: Section::::Selected works.:Vocal works.

paragraph: BULLET::::- "Herrgott noch ein Stück Brot" Chorus SSTT (1923)

paragraph: BULLET::::- "Furchtlosigkeit und Wohlwollen". Oratorio for tenor, mixed chorus, and orchestra; (1931; Revised 1959)

paragraph: BULLET::::- "La tentation de Saint Antoine" "d’après des airs et des vers du 18e siècle" for alto, string quartet, and string orchestra (1952; ballet version 1969)

paragraph: BULLET::::- "Nachgefühl". Cantata for soprano and orchestra after Klabund (1975)

paragraph: Section::::Selected works.:Singspiels (musical plays).

paragraph: BULLET::::- "Die Löwe und die Maus". Singspiel for children (1931)

paragraph: BULLET::::- "Der Fuchs und der Rabe". Singspiel for children (1932)

paragraph: BULLET::::- "Die Historie vom Ritter Don Juan aus Barcelona". After an old folk play (1932)

paragraph: Section::::Selected works.:Film music.

paragraph: BULLET::::- "" (Film by Heinz Rühmann, 1948)

paragraph: Section::::Selected works.:Writings.

paragraph: BULLET::::- 1953: "Abstrakte Oper Nr. 1" – (Libretto for a work by Boris Blacher)

paragraph: BULLET::::- 1958: "Das Zauberbett" – Comedy

paragraph: BULLET::::- 1960: "Musik, Wort, Bild" – Essays

paragraph: BULLET::::- 1973: "Die Zeit wartet nicht" – Autobiography

paragraph: BULLET::::- Various essays in ', ', "Neue Zeitschrift für Musik", "Österreichische Musikalische Zeitung".

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Kraus, Ernst: "Werner Egk: Oper und Ballet" Wilhelmshaven, 1971

paragraph: BULLET::::- McCredie, Andrew "Werner Egk" in "The New Grove Dictionary of Music and Musicians", Oxford University Press, 2001.

description: German composer

wikidata_label: Werner Egk

wikipedia_title: Werner Egk


text:
German
Neuenhaus
Kingdom of Hanover
French
French Revolution
Heidelberg
Göttingen
Karl Marx
Communist League
Revolutions of 1848–1849
communist
labour movement
German National Association
parliament
Liberal
Prussia
Prussian parliament
Bismarck
Osnabrück
Berlin
Discontogesellschaft
Lord Mayor of Frankfurt am Main
Prussian House of Lords
National Liberal Party
Reichstag
taxation
chancellor
Agrarians
agriculture
Order of the Black Eagle

categories: Mayors of Frankfurt,National Liberal Party (Germany) politicians,Members of the 8th Reichstag of the German Empire,German Protestants,1901 deaths,Deputy prime ministers of Prussia,Recipients of the Order of the Black Eagle,Members of the 1st Reichstag of the German Empire,Members of the 7th Reichstag of the German Empire,Members of the Prussian House of Lords,Heidelberg University alumni,Members of the Prussian House of Representatives,Members of the Second Chamber of the Diet of the Kingdom of Hanover,People from Neuenhaus,People from the Kingdom of Hanover,Members of the 2nd Reichstag of the German Empire,Finance ministers of Prussia,German people of French descent,University of Göttingen alumni,1829 births

paragraph: Johann von Miquel

paragraph: Johann von Miquel (19 February 1828 – 8 September 1901) was a German statesman.

paragraph: Section::::Biography.

paragraph: Born Johannes Miquel at Neuenhaus, Kingdom of Hanover, in 1829 as a descendant from a French family that had emigrated during the French Revolution, Miquel learnt law at the universities of Heidelberg and Göttingen. He studied the writings of Karl Marx and became a member of the illegal Communist League until 1852. Miquel was in close correspondence with Marx and active in the Revolutions of 1848–1849.

paragraph: In 1850 he settled down to practise as an advocate at Göttingen and began to distance himself from the communist labour movement . He acquired a reputation as an able lawyer and rising politician, especially for his knowledge of financial questions. He was one of the founders of the German National Association, and in 1864 he was elected a member of the Hanoverian parliament as a Liberal and an opponent of the government. He accepted the annexation of Hanover by Prussia without regret, and was one of the Hanoverians whose parliamentary abilities at once won a commanding position in the Prussian parliament, which he entered in 1867.

paragraph: For some reason, perhaps because Bismarck did not entirely trust him, he did not at this time attain quite so influential a position as might have been anticipated; nevertheless he was chairman of the parliamentary committee which in 1876 drafted the new rules of legal procedure, and he found scope for his great administrative abilities in the post of mayor of Osnabrück. He held this position from 1865 to 1870, and again from 1876 to 1879, having in the meantime moved to Berlin, where he was first a director of the Discontogesellschaft (1870–1873), and then a member of its advisory board (1873-1876).

paragraph: In 1879, he was elected Lord Mayor of Frankfurt am Main, where he gained a great reputation for the energy with which he dealt with social questions, especially that of the housing of the poor. This office also made him a member of the Prussian House of Lords. Probably owing to his early study of socialism, he was very ready to support the new social reforms of Bismarck. He was the chief agent in the reorganization of the National Liberal Party in 1887, in which year he entered the imperial Reichstag.

paragraph: After Bismarck's fall in 1890, he was chosen Prussian minister of finance, and held this post for ten years. He distinguished himself by his reform of the Prussian system of taxation, the one really successful measure of the new reign in internal affairs. An attempt, however, to reform the system of imperial finance in 1893-1894 failed, and much injured his reputation. Miquel had entirely given up his Liberalism, and aimed at practical measures for improving the condition of the people irrespective of the party programmes; yet some of his measures, such as that for taxing "Warenhäuser" ("stores"), were of a very injudicious nature. He professed to aim at a union of parties on the basis of the satisfaction of material interests, a policy to which the name of "Sammlung" ("Collective") was given; but his enemies accused him of constantly intriguing against the three chancellors under whom he served, and of himself attempting to secure the chancellorship.

paragraph: The sympathy that he expressed for the Agrarians increased his unpopularity among Liberals and industrials; but he pointed out that the state, which for half a century had done everything to help manufactures, might now attempt to support the failing industry of agriculture. By playing somewhat into the hands of the Agrarians, he secured the adoption of a new tax system, which greatly benefited the working classes and at the same time tremendously increased the revenue. In June 1901, the rejection of a canal bill led to a crisis, and he was obliged to send in his resignation. His health was already failing, and he died on 8 September of the same year at his house in Frankfurt.

paragraph: The German Emperor conferred upon him the patent of nobility (enabling him to adopt the "von" in front of his last name) in 1897, and conferred upon him the Order of the Black Eagle.

description: German statesman

wikidata_label: Johann von Miquel

wikipedia_title: Johann von Miquel


text:
Canadian
Cardinal
Roman Catholic Church
Archbishop of Montreal
cardinalate
Viauville
Montreal
Verdun
Major Seminary of Montréal
Order of Canada
Paul Grégoire
Catholic-Hierarchy.org

categories: People from Verdun, Quebec,Cardinals created by Pope John Paul II,Clergy from Montreal,1993 deaths,1911 births,Archbishops of Montreal,20th-century Roman Catholic archbishops,Canadian cardinals,Participants in the Second Vatican Council,Officers of the Order of Canada

paragraph: Paul Grégoire

paragraph: Paul Grégoire, (October 24, 1911 – October 30, 1993) was a Canadian Cardinal of the Roman Catholic Church. He served as Archbishop of Montreal from 1968 to 1990, and was elevated to the cardinalate in 1988.

paragraph: Section::::Biography.

paragraph: Paul Grégoire was born in Viauville, Montreal, to J. Albert Grégoire and Marie Lavoie, but his family moved to Verdun shortly after his birth. He had two younger brothers, but his parents later adopted nine of his cousins. He studied at the Minor Seminary of St. Thérèse in Blainville from 1925 to 1933, and then at the Major Seminary of Montréal from 1933 to 1937, where he obtained a licentiate in theology. He was ordained a priest on May 22, 1937, and then taught at St. Thérèse in Blanville until 1939. From 1939 to 1942, he furthered his studies at the University of Montréal, where he earned doctorates in philosophy and history, licentiate in letters, and diploma in pedagogy.

paragraph: In 1979, he was made an Officer of the Order of Canada.

paragraph: Section::::External links.

paragraph: BULLET::::- Paul Grégoire at the Catholic-Hierarchy.org

description: Canadian Catholic cardinal

wikidata_label: Paul Grégoire

wikipedia_title: Paul Grégoire


text:
Swedish
anti-militarist
Stockholm
Bolshevik Russia
Comintern
Gothenburg
atheist
Karl Marx
Ferdinand Lassalle
Wilhelm Liebknecht
Axel Danielsson
Hjalmar Branting
Nietzsche
August Strindberg
Göteborgs-Posten
Gothenburg University
Fredrik Ström
French Revolution
Jean-Paul Marat
Georges Danton
Louis de Saint-Just
Jean Jaurès
Swedish Social Democratic Party
Norway
Sweden
Karl Liebknecht
Lenin
Hjalmar Branting
Ture Nerman
Socialist International
Basel
Balkan Wars
Fredrik Ström
Hannes Sköld
krona
öre
lower house
Riksdag
Hjalmar Branting
World War I
Ture Nerman
Zimmerwald Conference
Swiss
Zimmerwald
Vladimir Lenin
Grigory Zinoviev
Karl Radek
Leon Trotsky
Bolsheviks
Bern
Långholmen prison
Stockholm
Stockholm
February Revolution
Otto Grimlund
Ture Nerman
Fredrik Ström
Carl Lindhagen
Långholmen prison
reformist
Hjalmar Branting
Bolsheviks
Communist Party of Sweden
Left Party
Politiken
Zinoviev
Bukharin
Karl Radek
Karl Kilbom
Petrograd
Smolny
Soviet Russia
Otto Grimlund
Carl Lindhagen
Alexandra Kollontay
Red Army
Norwegian
Olav Scheflo
Politiken
Finland
Finnish civil war
founding congress
Communist International
Otto Grimlund
2nd World Congress of the Comintern
Zinoviev
Kata Dalström
Fredrik Ström
Hinke Bergegren
Twenty-one Conditions
Carl Lindhagen
Comintern
Comintern
Communist Party
Swedish Social Democratic Party
Lenin
Mayor of Stockholm
Saint Petersburg
Hjalmar Branting

categories: Swedish prisoners and detainees,Swedish communists,Swedish journalists,Communist Party of Sweden (1924) politicians,People from Gothenburg,Mayors of Stockholm,1956 deaths,Leaders of political parties in Sweden,Swedish Social Democratic Party politicians,Members of the Executive of the Labour and Socialist International,Municipal commissioners of Sweden,Swedish memoirists,1884 births,Executive Committee of the Communist International,Swedish male writers,Marxist journalists,Swedish atheists,Left Party (Sweden) politicians,Anti–World War I activists

paragraph: Zeth Höglund

paragraph: Carl Zeth "Zäta" Konstantin Höglund (29 April 1884 – 13 August 1956) was a leading Swedish communist politician, anti-militarist, author, journalist and mayor ("finansborgarråd") of Stockholm (1940–1950).

paragraph: Höglund can be credited as the founder of the Swedish Communist movement. Zeth Höglund went on many meetings in Bolshevik Russia and was elected to the Comintern Executive Committee in 1922. In 1926, he returned to the Social Democratic party but still chose to define himself as a communist.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early years.

paragraph: Zeth Höglund grew up in Gothenburg in a lower-middle-class family. His father, Carl Höglund, worked as a merchant in leather and later became a shoemaker. Zeth was the youngest of ten children. He was also the only son, and hence had nine big sisters.

paragraph: His parents were very religious but disliked the church hierarchy and the way preachers and governments used religion to influence people. Höglund would later become an atheist.

paragraph: Section::::Biography.:Political awakening.

paragraph: Early on in high school, Höglund started considering himself a socialist and instead of his school books he started reading the German socialists Karl Marx, Ferdinand Lassalle, Wilhelm Liebknecht and the Swedish socialists Axel Danielsson and Hjalmar Branting. He also read Nietzsche and August Strindberg.

paragraph: He graduated from high school in 1902 with average grades. He soon got an internship with the liberal daily Göteborgs-Posten and was hired by that newspaper that fall.

paragraph: The same fall Höglund started studying "History", "Political Science" and "Literature" at the Gothenburg University. Here he met Fredrik Ström, a four-year-older student, also a radical socialist. They developed a close friendship that would last their whole lives.

paragraph: At the May Day demonstration in 1903, Höglund and Fredrik Ström had an invitation to speak from the Social Democratic Party on a demand for 8-hour workdays. Höglund started and was followed by Ström, who suddenly started agitating for 6-hour workdays, and even promising 4-hour workdays in a socialist future.

paragraph: Section::::Biography.:In Paris.

paragraph: In the summer of 1903, Höglund and Fredrik Ström decided to move to Paris. They were curious of the homeland of the great French Revolution of 1789 and the city where their heroes Jean-Paul Marat, Georges Danton and Louis de Saint-Just had lived and fought.

paragraph: In Paris they attended several socialist meetings, of which the grandest was when Jean Jaurès spoke to over 4,000 people. They tried to write on their own and sent political articles home to Sweden where some of them were published in different newspapers. One day at the post office, Fredrik Ström discovered that they were under surveillance by the French police.

paragraph: The two Swedes were very short on money. They had to live modestly in Paris and could spend little money on food. When winter came they froze and went hungry. They had hoped to stay much longer, but decided to go back to Sweden. They had no for the trip home, but two of Höglund's sisters, Ada and Alice, sent them the money, and they returned home by Christmas 1903.

paragraph: Section::::Biography.:Swedish Social Democratic Party.

paragraph: Höglund joined the Swedish Social Democratic Party in 1904 and became the leader of party's youth movement. He wrote an article called "Let Us Make Swedish Social Democracy the Strongest in the World".

paragraph: In 1905, Höglund strongly supported Norway's right to self-determination and independence from Sweden. When the Swedish conservatives made clear that they were prepared to subdue Norway by force, Zeth Höglund wrote the manifesto "Down With Weapons!" ("Ned med vapnen!") in which he indirectly declared that if the Swedish workers were forced to go to war with Norway, they would instead turn their weapons against the Swedish ruling class. The war was avoided, and Norway became independent, but, as a result of his anti-war agitation, Zeth Höglund was sentenced to six months in jail, which he served between the mid-summer and Christmas of 1906.

paragraph: While condemned and imprisoned by the Swedish ruling class as a dangerous rebel, Höglund was saluted by others. The German socialist Karl Liebknecht described him as a hero in his book "Militarism and Anti-Militarism".  The Russian Communist leader Lenin wrote: "The close alliance between the Norwegian and Swedish workers, their complete fraternal class solidarity, gained from the Swedish workers' recognition of the right of the Norwegians to secede... The Swedish workers have proved that in spite of all the vicissitudes of bourgeois policy... they will be able to preserve and defend the complete equality and class solidarity of the workers of both nations in the struggle against both the Swedish and the Norwegian bourgeoisie." ("The Right of Nations to Self-Determination")

paragraph: In November 1912, Höglund, together with his Swedish friends Hjalmar Branting and Ture Nerman, attended the special emergency convention of the Socialist International, which had been summoned to Basel in Switzerland, due to the outbreak of the Balkan Wars. At the convention, the leaders of all the European Socialist parties agreed to stand together internationally to prevent any future wars.

paragraph: Together with Fredrik Ström and Hannes Sköld, Höglund wrote the anti-militarist manifesto "Det befästa fattighuset" (The Fortress Poorhouse) in which they described and criticized Sweden as an armed fortress and at the same time a poorhouse, where the people were miserable and the rulers spent all resources on militarism. "Not one krona, not one öre, to militarism!" was the slogan of the manifesto. It was despised from the bourgeoisie politicians and media.

paragraph: Section::::Biography.:World War I and Zimmerwald.

paragraph: In 1914, Höglund got a seat in the lower house of the Riksdag. There, he agitated for socialism, against capitalism, war and the Swedish monarchy. Höglund's speeches were so revolutionary that they even provoked Hjalmar Branting, although many young socialists started seeing Höglund as their true leader.

paragraph: In 1914, when World War I broke out, Zeth Höglund together with Ture Nerman represented the Swedish-Norwegian members of the Zimmerwald Conference, the international socialist anti-war movement which gathered in the small Swiss village of Zimmerwald. There the young Swedish socialist met Vladimir Lenin, Grigory Zinoviev, Karl Radek and Leon Trotsky: Zeth Höglund and Ture Nerman felt very close to the Russian Bolsheviks.

paragraph: Back in Bern, after the conference in Zimmerwald, Zeth Höglund had a beer with Lenin in a local pub. Lenin asked Höglund if the "Swedish Socialist Youth Organization" possibly could donate some much needed money to the Bolsheviks. Höglund offered Lenin some money, and although it was a small amount, Lenin was extremely joyful and grateful. Höglund realized afterwards that maybe it was more about political trust than money.

paragraph: Even though Sweden did not participate in the war, Höglund's anti-war propaganda was enough to send Höglund to jail again for "betrayal of the Kingdom." While Höglund was at Långholmen prison, in Stockholm, his wife gave birth to their second daughter.

paragraph: In April 1917, Lenin and other communists passed through Stockholm from the exile in Switzerland on their return trip to Russia after the February Revolution. Lenin, who was greeted in Sweden by Otto Grimlund, Ture Nerman, Fredrik Ström and Carl Lindhagen, wanted to go and visit Höglund in jail. Arrangements were made, but, due other meetings running over time and the Bolsheviks hurry to get back to Russia, Lenin's visit to Långholmen had to be cancelled. However, the Bolshevik leader sent a telegram to Höglund wishing him strength and hoping to see him soon again, signed Lenin and Ström.

paragraph: Zeth Höglund, prisoner number 172, was released from Långholmen prison on 6 May 1917 after more than 13 months in prison. He was greeted by his friends, family and a couple of thousands workers who had gathered outside the prison. On the same day of his release, Höglund held a speech in a park in Stockholm, massing thousands of people to hear him talk about peace, socialism and revolution.

paragraph: From Russia came a telegram: "On the day of your release from prison, the C.C. of the R.S.D.L.P. greets in your person a staunch fighter against the imperialist war and a wholehearted supporter of the Third International." signed by Lenin and Zinoviev.

paragraph: Section::::Biography.:Birth of the Swedish Communist Movement.

paragraph: Höglund was a radical, revolutionary socialist and was the main leader of the Left Opposition in the Social Democratic Party, against the reformist politics of the party leader Hjalmar Branting. In 1917, Zeth Höglund and the left-wing were expelled from the party but they regrouped as the "Swedish Social Democratic Left Party", which supported the Bolsheviks in Russia and worked for the aim of a communist revolution in Sweden. This new party would soon become the (original) Communist Party of Sweden (SKP) and still exists today as the Left Party.

paragraph: In 1916, the left socialists launched their own newspaper, "Politiken", in which they wrote and published many texts by Lenin, Zinoviev, Bukharin and Karl Radek. Both Radek and Bukharin, who spent a lot of time in the neutral Sweden during the World War, had a great influence on the development of the Swedish Socialist Left.

paragraph: In December 1917, Höglund and Karl Kilbom traveled to Petrograd to visit the Bolsheviks and show their support of the revolution. On their day of arrival, Höglund was invited to see Lenin in the Smolny. Lenin was in an excellent mood. The Swedish communists were one of the first international groups to visit Soviet Russia and, by New Year's Eve, the Swedish delegation was joined by Otto Grimlund and Carl Lindhagen.

paragraph: Höglund and Lindhagen were invited to speak to an audience of 10,000 people in Petrograd. The Bolshevik Alexandra Kollontay, who had spent a lot of time in Scandinavia and had become a close friend of the Swedish left socialists, translated the speeches of Lindhagen and Höglund from Swedish to Russian.

paragraph: Höglund stayed until spring of 1918 in Soviet Russia. He traveled around the country and worked closely with the Bolshevik leaders. He was even offered to be made an honorable corporal in the Red Army, but he declined. (The position was then offered to the Norwegian Communist Olav Scheflo.) Höglund wrote long texts for "Politiken" and managed to keep a great influence over the communist movement in Sweden from abroad.

paragraph: On his way back to Sweden, Höglund also visited the Reds in Finland, which at the time was in the throes of the Finnish civil war, which soon ended in White victory.

paragraph: Section::::Biography.:Comintern.

paragraph: In March 1919, the founding congress of the Communist International (Comintern) took place in Russia, with Otto Grimlund representing the Swedish Socialist Left. Zeth Höglund worked hard to convince his friends that the Swedish Party should join the Comintern.

paragraph: During the 2nd World Congress of the Comintern, which took place in Russia the summer of 1920, Zinoviev said, "Unfortunately Comrade Höglund and others who took part along with us in the founding of the Communist International are not here." Instead, Kata Dalström represented the Swedish communists.

paragraph: But in the summer of 1921, Zeth Höglund, together with Fredrik Ström and Hinke Bergegren, represented Sweden in the third congress of the Comintern held in Moscow, and Höglund worked hard to make the Swedish party accept the Twenty-one Conditions for membership in the Communist International, including changing the name from "Sweden's Social Democratic Left Party" to the "Swedish Communist Party". Some of the party's members who did not agree to the 21 theses left the party while others, including Carl Lindhagen, were expelled.

paragraph: Höglund was elected to the Comintern Executive Committee in 1922. However, in 1924, over disagreement concerning the development of Comintern policies, thinking there was too much direct control from Moscow, Höglund split from Swedish Communist Party and founded his own Communist Party. In 1926 he rejoined the Swedish Social Democratic Party, where he was part of the radical left. He still considered himself a Communist until the day he died in 1956, always defending the original ideas of Lenin.

paragraph: Zeth Höglund was the Mayor of Stockholm from 1940 to 1950.

paragraph: Zeth Höglund had a street named after him in Leningrad, now Saint Petersburg.

paragraph: Section::::Works.

paragraph: BULLET::::- Zeth Höglund is the author of a two-volume biography about Hjalmar Branting.

paragraph: BULLET::::- His own autobiography is called "Minnen i fackelsken" (Memories in Torch Light) and is in three volumes: Part I: "Glory Days, 1900–1911", Part II: "From Branting to Lenin, 1912 – 1916", and Part III, "The Revolutionary Years, 1917–1921".

paragraph: BULLET::::- Zeth's daughter, Gunhild Höglund completed a fourth volume in the "Memories in Torch Light" series, called "Moscow, There and Back Again", published in 1960.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Kan, Aleksander. "Hemmabolsjevikerna". Falun: Carlssons bokförlag, 2005.

paragraph: BULLET::::- Höglund, Zeth. "Glory Days, 1900–1911". (autobiography vol. 1.) Stockholm: Tidens förlag, 1951.

paragraph: BULLET::::- Höglund, Zeth. "From Branting to Lenin, 1912 – 1916". (autobiography vol. 2.) Stockholm: Tidens förlag, 1953.

paragraph: BULLET::::- Höglund, Zeth. "The Revolutionary Years, 1917–1921". (autobiography vol. 3.) Stockholm: Tidens förlag, 1956.

paragraph: BULLET::::- "Lenin's Struggle for a Revolutionary International – Documents, 1907–1916: The Preparatory Years", New York: Pathfinder Press, 1986.

paragraph: BULLET::::- "Founding the Communist International – Proceedings and Documents of the First Congress, March 1919", New York: Pathfinder Press, 1987.

description: Swedish politician

wikidata_label: Zeth Höglund

wikipedia_title: Zeth Höglund


text:
Ladismith
Western Cape
Afrikaans
Rolling Stone
WAT Met Willim Welsyn Podcast
Willim Welsyn
"Feromoon Rose"
"SABC 2"
Willim Welsyn en die Sunrise Toffies
"Buikspraak"
Willim Welsyn en die Sunrise Toffies
"MK (channel)"
Jeffreys Bay
"Kompos en Kraai"
"Kompos en Kraai"
"Kompos en Kraai"
"Kompos en Kraai"
"Maanplaas"
"Maanplaas"
Stellenbosch University
Thailand
Rooibaardt
"Smeer die Weerlig"
"Smeer die Weerlig"
William Welfare
Fokofpolisiekar
“4 Cups Of Dust"
Oppikoppi
GoPro
Rolling Stone
Deftones
Koos Kombuis
Bittereinder
Jack Parow
Tumi Molekane
Rolling Stone
WAT Met Willim Welsyn Podcast
Blitzkriek
ATKV
"Willim Welsyn"
"Feromoon Rose"
"Buikspraak"
"Kompos en Kraai"
"Maanplaas"
"Smeer die Weerlig"
"Shunt"
"Blitzkriek"
"Documentary"
Piet Botha
Akkedis
The Black Cat Bones
Voëlvry movement

categories: 1984 births,South African journalists,South African songwriters,South African photographers,South African male singers,Living people

paragraph: Willim Welsyn

paragraph: Willim Welsyn aka William Welfare (born William Barnard, 17 September 1984), is a South African rock singer/songwriter, filmmaker and an award-winning podcaster originally from Ladismith in the Western Cape. He is better known as the lead singer and guitarist for the Afrikaans Rock band, Willim Welsyn en die Sunrise Toffies and as former photographer, features writer and podcast host for the South African "Rolling Stone" magazine and for his weekly Afrikaans podcast show WAT Met Willim Welsyn Podcast.

paragraph: Section::::History.

paragraph: Willim Welsyn recorded his first self-titled solo EP in 2002 at the age of 17. In 2004 he recorded his first full-length solo album, "Feromoon Rose". In the same year Welsyn met up with Panna Dekker (bass guitar) and Etienne Nel (drums) during a "SABC 2" television interview where Welsyn asked Dekker and Nel to pose as his backing band for a promotional music video clip that would air with the initial interview. After the interview they formed Willim Welsyn en die Sunrise Toffies and recorded their first full-length album, "Buikspraak" in 2005.

paragraph: Willim Welsyn en die Sunrise Toffies started touring in South Africa and shot two music videos for the songs, ""Toastersport"" and ""Coca Cola Sunrise"" for the then popular "MK (channel)". Dekker left the band soon hereafter. For three months Welsyn and Nel performed as a two-piece band, when Welsyn approached a bass guitar player from Jeffreys Bay, Gerhard Grobler, to join the band. In 2007 they recorded their second full-length album, "Kompos en Kraai". Shortly after the "Kompos en Kraai" recording they signed a record deal with Next Music. Shortly after the release of "Kompos en Kraai" they released two music videos from the album, ""Soos ’n Skoolhoof"" en ""Die mooiste van dit alles"".

paragraph: In 2008 drummer Etienne Nel was involved in a serious car accident in Stellenbosch. He suffered multiple injuries and was temporarily replaced by Tim Rankin, the sound engineer who worked on "Kompos en Kraai" and the drummer for the Cape Town-based band, Bed on Bricks. In the same year Welsyn recorded his second full-length solo album, "Maanplaas", with Schalk van der Merwe, also from Bed Bricks, on bass guitar and Tim Rankin on drums. Van der Merwe also produced the album. "Maanplaas"`s sound differed from Willim Welsyn en die Sunrise Toffies's previous high-paced rock albums, taking a more relaxed, country and folk direction.

paragraph: In 2009 Welsyn enrolled at Stellenbosch University, Grobler enrolled at the Cape Audio College and Nel started working full-time. Willim Welsyn en die Sunrise Toffies still kept performing occasional live shows, while Welsyn also pursued his solo career.

paragraph: In 2010 Grobler travelled to Thailand and was replaced by bassist Louis Esterhuizen, who was previously the bassist and guitarist of Rooibaardt. In September 2010 Welsyn recorded his third full-length solo album, "Smeer die Weerlig", with Nel on drums, Jo Ellis on organ and piano and Welsyn on guitar, vocals and bass guitar. "Smeer die Weerlig" was produced by Jo Ellis, who also produced Welsyn's first two albums and Willim Welsyn en die Sunrise Toffies's first album.

paragraph: Section::::Music style.

paragraph: In a 2014 review of William Welfare’s "Shunt" author Annie Klopper noted: “As an Afrikaans rocker Welsyn proved that he’s not a Fokofpolisiekar-wannebe that can only play two false chords on the guitar. His music is always without a touch of pretentiousness and his lyrics are well-thought-out.

paragraph: Section::::"Rolling Stone" South Africa.

paragraph: In 2012 Welsyn graduated from the University of Stellenbosch with a bachelor's degree in Humanities

paragraph: In March 2013 Welsyn launched the "Rolling Stone" SA podcast show on www.rollingstone.co.za which he produced and co-hosted with RS editor in chief, Miles Keylock and RS digital editor, Anton Marshall. The podcast show featured a mixture of in-depth conversations, interviews, previews of upcoming feature articles and discussions of relevant topics of the day.

paragraph: Section::::William Welfare.

paragraph: In September 2013 Willim Welsyn changed his name to William Welfare (an English translation) for his first upcoming English album set to be released in 2014.

paragraph: “4 Cups Of Dust" is the first official single and video by William Welfare.

paragraph: The video sees Welfare and drummer Kyle Gray recording the track live at Blooroom Studios in Ladismith and then traveling to the Oppikoppi Bewilderbeast 2013 Festival.

paragraph: The footage was shot by Welfare and Gray on a GoPro knock-off camera while they were both covering the festival for Rolling Stone SA Magazine in August 2013. Welfare interviewed most of the artists seen in the video during the festival. Some of these artists include Chino Moreno from Deftones, Koos Kombuis, Black Cat Bones, Bittereinder, Shadowclub, Jack Parow and Tumi Molekane from Tumi and The Volume.

paragraph: “The video shows how fast-paced and crazy my job as a traveling music journalist and musician is. There’s no time to set up shit and get the lighting right – I have to be in 10 places at once. It’s a DIY point an’ shoot mash-up”, said Welfare.

paragraph: When asked why Welsyn translated his name and decided to record his first English album he said, “I always figured that if a 1000 people in South Africa could dig my Afrikaans music then maybe 10 000 people around the world could dig my English music.”

paragraph: In 2014 Welfare released "Shunt" on 180g vinyl via Valve House Music and Publishing.

paragraph: Section::::WAT Met Willim Welsyn Podcast.

paragraph: After "Rolling Stone" South Africa magazine closed its doors in 2014, Welsyn started a weekly Afrikaans podcast show called 'WAT Met Willim Welsyn'. Released on Thursdays, the show features interviews with fellow musicians and legendary South African artists, writers and comedians.

paragraph: On 8 April 2016, after releasing 51 episodes, WAT Met Willim Welsyn Podcast became the first Afrikaans podcast show to reach the number 1 position on iTunes South Africa's podcast charts in the Performing Arts category.

paragraph: On 9 March 2017 Welsyn published the 99th episode of the WAT Podcast with RSG radio host Izak du Plessis as guest. On the intro of the episode Welsyn announced to his listeners that he's in the process of finalizing a new solo album called "Blitzkriek", the album would see Welsyn return to his Afrikaans rock roots.

paragraph: On 16 March 2017 Welsyn published the 100th episode of the WAT Podcast where he cold called regular listeners and fans of the show asking them how and when they listen to the show and what their favorite episodes were.

paragraph: On the 2nd of March 2018 Welsyn published the 150th episode of the WAT Podcast titled “Behind The Scenes & Cheers Vir Eers” where he answered a few fan questions, shared some behind the scenes trivia about the show and announced that he would be taking a break from the show for a few months. Welsyn explained that the weekly production of show started to become very labour intensive and that he needed some time to clear his head before returning to the show.

paragraph: He also mentioned that if you were to listen to all 150 episodes back-to-back that it would take you 9 days in total to complete.

paragraph: On the 12th of April 2018, while still on hiatus, Welsyn got nominated for a ATKV Mediaveertjie (Media Feather) Award in the "Luister" (Listen) radio category for Best Presenter or Interviewer of a Magazine Programme. On the 11th of May 2018 Welsyn made history by becoming the first independent, self-funded South African podcaster to win an award in this category ruled by personalities from terrestrial radio stations.

paragraph: Section::::Discography.

paragraph: • Willim Welsyn - "Willim Welsyn" EP 2002br

paragraph: • Willim Welsyn - "Feromoon Rose" 2004br

paragraph: • Willim Welsyn en die Sunrise Toffies - "Buikspraak" 2005br

paragraph: • Willim Welsyn en die Sunrise Toffies - "Kompos en Kraai" 2007br

paragraph: • Willim Welsyn - "Maanplaas" 2009br

paragraph: • Willim Welsyn - "Smeer die Weerlig" 2010br

paragraph: • William Welfare - "Shunt" 2014br

paragraph: • Willim Welsyn - "Blitzkriek" 2017

paragraph: Section::::Filmography.

paragraph: • "Zeegunst: By Invite Only" - "Documentary" 2014

paragraph: In 2014 Welsyn got commissioned to shoot a behind-the-scenes video of a private music festival. During post production the video began to take the shape as a documentary. Valve House Music and Publishing decided to release the film on DVD. Hidden among the South African dunes of Vlees Bay and Fransmanshoek’s nature reserve and conservation area you’ll find the private holiday property of the four Hanekom brothers named Zeegunst. The documentary investigates the four Hanekom brothers’ logistical building blocks and motives for hosting one of the most secretive new year’s festivals in the country. With interviews and live recordings of some of the most legendary local fringe bands and artists like Piet Botha, Akkedis, The Black Cat Bones, Albert Frost, Gerald Clark, Ann Jangle, William Welfare, Southern Gypsey Queen en Dirk Ace of the Voëlvry movement – "Zeegunst" tells the underground story of one family’s ambitious efforts to begin the new year on a high note.

paragraph: Section::::External links.

paragraph: BULLET::::- http://www.willimwelsyn.co.za

paragraph: BULLET::::- http://www.williamwelfare.com

description: South African singer-songwriter

wikidata_label: Willim Welsyn

wikipedia_title: Willim Welsyn


text:
Gaza
Palestinian
Gaza Strip
Rashad al-Shawa
silkscreen printing
The British Museum
Palestine
Leonardo da Vinvi Art Institute
Salzburg, Austria
refugee camp
UNESCO's
Beirut
Lebanese Civil War
Rashad Shawa Cultural Centre
Princeton University Art Museum
ICA,
Art Below
London Underground
Jake Chapman
Peace One Day
AK-47
West Bank

categories: Palestinian women,1940 births,Living people,Palestinian women artists

paragraph: Laila Shawa

paragraph: Laila Shawa (Arabic: ليلى الشوا; born Gaza, 1940) is a Palestinian artist whose work has been described as a personal reflection concerning the politics of her country, particularly highlighting perceived injustices and persecution. She is one of the most prominent and prolific artists of the Arabic revolutionary contemporary art scene. As a Palestinian living in the Gaza Strip for her formative years and the daughter of Rashad al-Shawa, activist and mayor of Gaza 1971—82, Shawa's revolutionary mindset was inculcated at a young age. Often her artwork, which includes paintings, sculptures, and installations, works with photographs that serve as the base for silkscreen printing. Her work has been internationally exhibited and is displayed in many public (e.g. The British Museum) and private collections.

paragraph: Section::::Early life.

paragraph: Laila Shawa was born in Gaza in 1940, eight years prior to Palestine officially becoming a state alongside the new State of Israel. Shawa was well educated; she attended boarding school at the Leonardo da Vinvi Art Institute in Cairo from 1957—58, then went to the Academy of Fine Arts in Rome from 1958—64, while also studying during the summers at the School of Seeing in Salzburg, Austria.

paragraph: In 1965, after finishing her schooling, Laila Shawa returned to Gaza and directed arts and crafts classes in several refugee camps. She then continued to teach an art class for a year with UNESCO's education program. She then moved to Beirut, Lebanon in 1967 for a total of nine years and was a full-time painter. After the Lebanese Civil War began, she returned to Gaza and with assistance from both her father and husband, Shawa founded the "Rashad Shawa Cultural Centre". Unfortunately, the center is not currently being used for what it was intended, as a cultural connection to Gaza through exhibitions and galas.

paragraph: Section::::"Hands of Fatima".

paragraph: The painting, "Hands of Fatima," was created by Laila Shawa during the year of 1992. The height of the painting is eighty-nine centimeters high, and the width is seventy centimeters long. The museum number of this piece is 1992,0414,0.1, and is currently, not on display. It is positioned in a vertical composition. Shawa uses oil and acrylics on canvas. The background of the painting is dark with a yellow moon crescent, but it is paralleled with bright and vibrant colors of women in niqabs with unique patterns in each. Their eyes filled in black, and there are open hands that have the sign of the evil eye, and have painted henna designs. The painting is considered a Middle East and North Africa Modern Art style. The painting, "Hands of Fatima" is from Laila Shawa’s series called "Women and Magic" that reconnoiters a common practice of magic and witchcraft in the middle east.This opens the discussion on how people govern their destiny to unknown powers, and that the things people do come from a mysterious authority outside their own control. Moreover, the hands in the painting, are covered in henna and has the evil eye attached to it. According to Nadir Yurtoğlu in "History Studies International Journal of History", the evil eye is a belief in many cultures in which, through envy, people can cause harm to one another. By including the evil eye into her piece, Shawa is using that belief as the women in the painting are preventing harm that may approach them by using the belief that a higher power can do so. The women in the painting are also veiled, and in an Interview with "Muslima", Shawa explains how the veil is what she terms as a Bidaa, something which was introduced to Islam, but has nothing to do with Islamic teachings rather than a sociopolitical spectacle created to subdue women. So, the women in this piece are essentially affected by that sociopolitical endeavor. In the book, "The Origins of Palestinian Art," the authors Bashir Makhoul and Gordon Hon present the ways in which Palestinian artists have altered a lot of the most intriguing approaches of contemporary art in ways that seem to carry these approaches into direct engagement with a very tangible and crucial political struggle. In this case, Laila Shawa is presenting to her audience the political struggle of being a Palestinian Muslim woman living in occupied Palestinian state, and relying on higher powers to carry their existence and faith.

paragraph: Section::::Artistic career.

paragraph: In an interview with the "Princeton University Art Museum," Laila Shawa was asked what it is that inspires her, to which she responded, "My inspiration is my direct experiences. It's usually what I see, what's around me, so it is contemporary. I prefer to do the present, now, with issues that are very relevant...my artwork is a very creative process, a mixture of intellectual processes, observations, and I think it out very thoroughly." Shawa's more thoughtful and creative approach in producing art is seen in all her various forms of artwork: painting, print, and installation. The overall configuration and detail of Islamic architecture influenced Shawa's later work as she incoorporated significant cultural and ideological elements.

paragraph: In 2012 to go alongside the AKA Peace Exhibition at the ICA, Art Below showcased selected works from the AKA Peace series on the London Underground including artwork by Laila Shawa. "AKA Peace" originally conceived by photographer Bran Symondson and now curated by artist Jake Chapman, is an exhibition of new works made specially for The Peace One Day Project 2012, bringing together a group of Contemporary Artists, all of whom agreed to transform a decommissioned AK-47 assault rifle, refashioning into artworks. For Shawa, this was no foreign object, but rather a quite common one in the West Bank. At the AKA Peace Exhibition, while standing next to her piece, she said, "I'm very familiar with AK-47s so for me it was not a very strange feeling to carry the gun, but my first question to Bran was 'how many people did this gun kill?'" Shawa entitled her glamored rifle, 'Where Souls Dwell," a powerful name attached to an intensely charged piece of art. It is decorated with "rhinestones and butterflies and with the barrel sprayed gold." This is only one example of the artwork by Laila Shawa, but bears light into the pain each work displays.

alias:
Laila aš-Šawa
Leila Shawa
Leila Rashad Shawa

description: Palestinian artist

wikidata_label: Laila Shawa

wikipedia_title: Laila Shawa


text:
BEFORE NOW
Culiacán
Sinaloa
Laguna Drum Fest

categories: Mexican jazz musicians,Rock drummers,Male drummers,Mexican drummers,Mexican male musicians,People from Culiacán,Musicians from Sinaloa,Male jazz musicians,Living people

paragraph: Luis Campos

paragraph: Luis Campos, also known by the stage name Chocs (born June 5), is a Mexican rock and jazz drummer and member of the band BEFORE NOW.

paragraph: Section::::Early life.

paragraph: Luis Campos was born in Culiacán, Sinaloa, Mexico and started playing drums at the age of sixteen. He performed with several bands for a few years in Culiacan. In 2000 He moved to Mexico City to study at Fermata school of music.

paragraph: Section::::Career.

paragraph: Campos kept pursuing a career as a rock and jazz drummer after moving to Los Angeles. He was hired as musical director for Puerto Rican pop singer Noelia in 2006. That same year he joined a rock punk band and toured the United States. In 2009 he signed a record deal with company MIP Music Group to produce an instructional DVD, "Not Just Drumming" and the album "Time for Sound" at Drumchannel Studios. DW Drums founder Don Lombardi directed the DVD, which includes a live performance of Campos' Jazz Trio, featuring Ric Fierabracci on bass and Jeff Miley on guitar; a 15-minute interview with his trio by Don Lombardi and 3 rock tracks. In 2010 he signed with cymbal company Paiste, drum company Ddrums, Pro Racket Drum Cases, Eccentric Systems, KOPF Acoustic Cajones, and a second deal with MIP Music Group. He was invited to perform at the Laguna Drum Fest in 2010, one of the main drum festivals in Mexico. In 2012 Luis Campos was invited to perform a drum duo with worldwide Antonio Sanchez at DrumChannel studios. The performance was followed by an interview with drummer Curt Bisquera.

description: Mexican musician

wikidata_label: Luis Campos

wikipedia_title: Luis Campos


text: Henry Somerset, 2nd Duke of Beaufort

text: Marquess of Worcester

text: courtesy title

text: Duke of Beaufort

text: Badminton Cabinet

text: Florence

text: Hans-Adam II, Prince of Liechtenstein

text: Palais Liechtenstein

text: Vienna

text: Frances Scudamore

text: James Scudamore, 3rd Viscount Scudamore

text: Act of Parliament

text: adulterous

text: William Talbot

text: Earl Talbot

text: Charles FitzRoy-Scudamore

text: Foundling Hospital

text: royal charter

text: George II

text: Charles Noel Somerset

text: Thomas Gainsborough

categories: 1707 births,Dukes of Beaufort,Somerset family,1745 deaths,Masters of foxhounds,Barons Herbert

paragraph: Henry Scudamore, 3rd Duke of Beaufort

paragraph: Henry Somerset-Scudamore, 3rd Duke of Beaufort (23 March 1707 – 26 February 1745) born Henry Somerset, was an English nobleman and peer. He was the elder son of Henry Somerset, 2nd Duke of Beaufort and his second wife, Rachel Noel. As his father's eldest son and heir to his father's title he was known as (styled) Marquess of Worcester, a courtesy title. On his father's death on 24 April 1714 he succeeded him and became 3rd Duke of Beaufort.

paragraph: At the age of 19 he commissioned the construction of what would later become known as the Badminton Chest or Badminton Cabinet, an ornate set of drawers made in Florence. The chest was sold in 2004 to Hans-Adam II, Prince of Liechtenstein for £19 million, making it the most expensive piece of furniture in the world. It is on display in the Palais Liechtenstein in Vienna, Austria.

paragraph: On 28 June 1729 he married Frances Scudamore (14 August 1711 – 16 February 1750), the only daughter and heir of James Scudamore, 3rd Viscount Scudamore, and took his wife's name by an Act of Parliament later the same year. In 1742 he filed for divorce due to Frances' adulterous relationship with William Talbot, who later became Earl Talbot. Frances countersued, saying the Duke was impotent; in March 1743, he demonstrated before court-appointed examiners that he was physically able to have an erection. The divorce was granted, and he sued Talbot for damages. Frances later remarried to Charles FitzRoy-Scudamore.

paragraph: The Duke was one of several founding governors of Britain's first institution for abandoned children, the Foundling Hospital, and his name is listed in its royal charter received from George II in October 1739.

paragraph: After his death, the 3rd Duke of Beaufort was buried at St Michael and All Angels Church, Badminton. Because he had no legitimate children, his titles and estates were inherited by his younger brother, Charles Noel Somerset.

paragraph: The Duke had one illegitimate daughter, Margaret Burr, who married the painter Thomas Gainsborough and had issue.

paragraph: Section::::External links.

paragraph: BULLET::::- the Badminton Cabinet in the Liechtenstein Museum, Vienna

alias:
Henry Somerset-Scudamore
Henry Somerset
Henry Scudamore

description: English noble

wikidata_label: Henry Scudamore, 3rd Duke of Beaufort

wikipedia_title: Henry Scudamore, 3rd Duke of Beaufort


text:
Prussian
Major
French
Battle of Stralsund
Napoleonic
Bannewitz
Saxony
Prussian Army
cavalry
Bohemia
Austria
Seven Years' War
Freikorps
dragoons
battle of Auerstadt
Kolberg
siege of 1806–07
Treaty of Tilsit
major
Pour le Mérite
hussar
Napoleon Bonaparte
Tugendbund
Gerhard von Scharnhorst
August Neidhardt von Gneisenau
Kingdom of Westphalia
Napoleon
Jérôme Bonaparte
light infantry
Dodendorf
Magdeburg
Danish
Dutch
Baltic Sea
Frederick William III
Stralsund
Danish
Dutch
Brunswick
Jerome Bonaparte
University of Leiden
Wesel
Wesel
Wesel
Stralsund
Braunschweig
Wilmersdorf
Potsdam
Ohlau
Cottbus
Anklam
Geldern
Wittenberg
Rudolf Meinert
The Eleven Schill Officers
1932 sound remake
Sam Mustafa

categories: Saxon nobility,Freikorps personnel of the Napoleonic Wars,Recipients of the Pour le Mérite (military class),Prussian nobility,1809 deaths,People from Sächsische Schweiz-Osterzgebirge,Prussian Army personnel of the Napoleonic Wars,1776 births,18th-century Prussian people,18th-century German people,People from the Electorate of Saxony

paragraph: Ferdinand von Schill

paragraph: Ferdinand Baptista von Schill (6 January 1776 – 31 May 1809) was a Prussian Major who revolted unsuccessfully against French domination of Prussia in May 1809.

paragraph: Schill's rebellion ended at the Battle of Stralsund, a battle which also saw Schill's own death in action. Outnumbered 3 to 1, Schill's Prussian forces succumbed to a Napoleonic force supported by Dutch and Danish auxiliaries.

paragraph: Section::::Life.

paragraph: Schill was born at Wilmsdorf (now a part of Bannewitz, Saxony) and entered the Prussian Army's cavalry at the age of twelve or fourteen (sources differ). His father, Johann-Georg Schill, had been an ambitious commoner from Bohemia, who attained the aristocratic "von" for his services to Austria and Saxony during the Seven Years' War. J.G. von Schill had raised a "Freikorps", a small raiding party of cavalry and mounted infantry, operating behind enemy lines, and acquired some measure of fame and success. Many of Ferdinand von Schill's later biographers assumed that his father's example was an important influence on his subsequent career.

paragraph: Ferdinand von Schill was a second-lieutenant of dragoons when he was wounded at the battle of Auerstadt. From that field he escaped to Kolberg, where he played a very prominent part in the celebrated siege of 1806–07, as the commander of a Freikorps, raiding behind the French lines. After the Treaty of Tilsit, he was promoted to major, awarded the Pour le Mérite, and given the command of a hussar regiment formed primarily from his Kolberg men.

paragraph: Section::::Schill's revolution.

paragraph: In 1809 the political situation in Europe appeared to Schill to favor an attempt to liberate Germany from the French domination of Napoleon Bonaparte. He was an active member of the Tugendbund, the quasi-Masonic "League of Virtue" founded in June 1808, and including many notable Prussian reformers such as Gerhard von Scharnhorst and August Neidhardt von Gneisenau. It was banned in 1809. Many Tugendbund leaders believed that the new Kingdom of Westphalia, created by Napoleon from many smaller German states, and ruled by Napoleon's youngest brother Jérôme Bonaparte, was ripe for revolution. Schill planned to create an uprising in Westphalia that would topple the Bonaparte regime there, and – coupled with the efforts of Austria, Spain, and Britain – would bring about the fall of Napoleonic dominance in Germany.

paragraph: Leading out his regiment from Berlin under pretext of manoeuvres, he raised the standard of revolt, and, joined by many officers and a company of light infantry, marched first south through Saxony, and then north-west into Westphalia. At the village of Dodendorf on May 5, 1809, he had a brush with the Magdeburg garrison and won a small victory. Schill had no difficulty defeating, or even recruiting, the unreliable Westphalian troops sent against him, and his rebellion swelled to over 2,000 men.

paragraph: He had less success, however, with the gathering Danish and Dutch forces, which gradually drove him in a north-east direction toward the Baltic Sea. His most serious difficulty was the condemnation of Prussia's king Frederick William III, who feared that the revolt would drag a weakened and unprepared Prussia into another disastrous war against Napoleon. By the end of May, although he had left garrisons and raiding parties in various places, Schill's main force was trapped at Stralsund. He had between 1,500–2,000 men, against a force of 8,000 Danish and Dutch troops under French command.

paragraph: Section::::Schill's revolution.:Liberation fails.

paragraph: On May 31 the Napoleonic forces stormed Stralsund. Schill was killed in the street fighting as his defenses collapsed. Over a thousand of his rebels escaped to Prussia, overland or by ship, where the officers were tried by court-martial, cashiered and imprisoned (although all were subsequently pardoned.) Some smaller parties of rebels including his two brothers escaped to Sweden, and ultimately Austria and Britain, but the rest were either killed or taken. The French commander counted 570 prisoners, the majority of whom were then sent to the galleys. About 100 rebels who had been Westphalian deserters were separated and taken to Brunswick, where 14 of them were ultimately executed.

paragraph: Schill's body was decapitated. The corpse was dumped in an unmarked grave in Stralsund. The head was sent to Jerome Bonaparte as a trophy, but he gave it to a Dutch surgeon who collected oddities, and it remained at the University of Leiden until 1837, when German patriots obtained it for the dedication of a Schill monument in Brunswick.

paragraph: Section::::Schill's revolution.:Schill's Eleven Officers.

paragraph: Eleven of Schill's officers were taken as a group to several different cities before their fate was sealed by Napoleon's orders. Eventually they were taken to the fortress of Wesel where they were given a show trial and executed on September 16. The young group became tragic heroes and martyrs, and their appearance brought out crowds in every German-speaking town and city they went through. A dramatic letter-writing campaign led by Philippine von Griesheim, the fiance of one of the eleven officers, Albrecht von Wedell, and appeals to the Prussian King Frederick William III by the eleven asking to die by a Prussian firing squad instead of at the 'hands of the enemy' helped create a legend that would become part of the propaganda encouraging the German liberation movement of 1813 leading to Prussia's restoration of independence.

paragraph: One other close comrade of Schill's escaped execution and became known as 'The Twelfth'. Lieutenant Heinrich von Wedell had served with Schill as far back as the Siege of Kolberg. He was badly wounded at the battle of Dodendort and had to remain behind there. He was captured and interrogated by the French. Heinrich managed to convince the French that he had participated against his will and so he was sent to France, physically branded a criminal, and served eight months on a prison ship and then hard labor in a prison quarry before eventually being released in early 1812 in anticipation of the impending war with Russia. He was the cousin of Carl and Albrecht von Wedell who were among the eleven Schill officers executed at Wesel.

paragraph: Another of Schill's officers, the Swede Friedrich-Gustave Peterson was executed by firing squad in Stralsund.

paragraph: Section::::Legacy.

paragraph: By the 1830s Schill was widely considered a hero throughout Germany. Monuments and historical markers to him or to his rebels have been erected in towns and cities: Wesel, Stralsund, Braunschweig, Wilmersdorf, Potsdam, Ohlau, Cottbus, Anklam, Geldern, and Wittenberg.

paragraph: Military units were named after him, streets and plazas bear his name to this day. Over 400 biographies, novels, plays, operas, and collections of poetry have been published about him in German, and he is featured in over a dozen German films including Rudolf Meinert's 1926 silent film "The Eleven Schill Officers" and his 1932 sound remake.

paragraph: Section::::References.

paragraph: Section::::References.:Sources.

paragraph: BULLET::::- Haken, "Ferdinand von Schill" (Leipzig, 1824)

paragraph: BULLET::::- Barsch, "Ferdinand von Schills Zug und Tod" (Leipzig, 1860)

paragraph: BULLET::::- Binder von Krieglstein, "Ferdinand von Schill: Ein Lebensbild" (Berlin, 1902)

paragraph: BULLET::::- Sam Mustafa, "The Long Ride of Major von Schill" (Rowman & Littlefield, 2008)

description: German noble

wikidata_label: Ferdinand von Schill

wikipedia_title: Ferdinand von Schill