text:
Bollywood
Dadasaheb Phalke Award
Indian cinema
Government of India
Sangeet Natak Akademi
Sangeet Natak Akademi
Calcutta
Dhrupad
Rampur
Gwalior
Rampur-Sahaswan gharana
Masit Khan
Hafiz Ali Khan
Lucknow
Allahabad
Benares
Pankaj Mullick
film music
Hindi film
Anil Biswas
Indian Broadcasting Company
New Theatres
Ghazal
Bengali
Hindi
Parul Ghosh
Suprabha Sarkar
Harimati
Bombay
New Theatres
Anil Biswas
Hindi
Bengali
Dadasaheb Phalke Award
Indian cinema
Government of India
Sangeet Natak Akademi
Creative and Experimental music
Sangeet Natak Akademi
Babul Supriyo
Mohabbat Ke Ansu
Zinda Lash
Subah Ka Sitara
Puran Bhagat
Rajrani Meera
Dulari Bibi
Chandidas
Daku Mansoor
Mohabbat Ki Kasauti
Karwan-E-Hayat
Mihirkiron Bhattacharya
Dhoop Chhaon
Pankaj Mullick
Manzil
Karodpati
Vidyapati
President
Street Singer
Sathi
Lagan
Hamrahi
Shri Chaitanya Mahaprabhu
Nilachale Mahaprabhu
Dena Paona
Musicians
A short history
Bengali cinema

categories: 20th-century Indian musicians,Bengali musicians,University of Calcutta alumni,1903 births,20th-century composers,Recipients of the Sangeet Natak Akademi Award,Bengali people,Male film score composers,Indian film score composers,Dadasaheb Phalke Award recipients,Hindi film score composers,1981 deaths,Indian male musicians

paragraph: Raichand Boral

paragraph: Rai Chand Boral (19 October 1903 – 25 November 1981) was an Indian composer, considered by music connoisseurs to be the Bhishma Pitamah, the father of Bollywood film music.

paragraph: He was awarded the Dadasaheb Phalke Award the highest award in Indian cinema, given by Government of India, in 1978, and also in the same year, the Sangeet Natak Akademi award, given by the Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama.

paragraph: Section::::Early life and training.

paragraph: Boral was born in Calcutta. His father, Lal Chand Boral was a classical musician (expert of "Dhrupad"). He had three sons, and Rai Chand was the youngest. Musicians from Rampur and Gwalior were invited for lessons. These include Ustad Mushtaq Hussain Khan of Rampur-Sahaswan gharana, Masit Khan (tabla player), and Ustad Hafiz Ali Khan (sarod player). Rai Chand learnt "Sath Sangat" on the tabla and attended music conferences in Lucknow, Allahabad, and Benares.

paragraph: Section::::Career.

paragraph: Raichand Boral is often credited to be the pioneer of Indian film music . Along with Pankaj Mullick, he was in charge of New Theatres' music department. New Theatres set standards in film music which have rarely been approached since . They also shaped film music in its early days and their format was followed for the most part for first 20–30 years in Hindi film music. He was also responsible for shaping Saigal's budding career. Anil Biswas called Boral 'Bhishma Pitamah of film music'.

paragraph: Boral joined the Indian Broadcasting Company in the year of its inception, 1927. In 1931, he shifted to the New Theatres in the silent era for supporting the stage with live music. He dissolved the Ghazal style of singing from Northern India into the 19th Century Bengali tunes with string instrument medium. In 1935, he introduced playback singing for the first time in the Hindi feature film "Dhoop Chhaon" (1935). The song, "Main Khush Hona Chahun", had an all women chorus led by Parul Ghosh with Suprabha Sarkar and Harimati picturised in a dance sequence. After arriving in Bombay in 1953, Boral composed music for "Dard-e-Dil" (1953) with Lata's songs. Music for some basic records were composed by him. "Anjangarh" (1948) was his last famous film with New Theatres. He is correctly complimented by late Anil Biswas as the Father of Indian Cinema Music. He had directed the music of 70–75 (?) films (excluding live scores of silent movies) including Hindi and Bengali films.

paragraph: He received the Dadasaheb Phalke Award the highest award in Indian cinema, given by Government of India, in 1978 at the age of 75. Also in the same year he received the Sangeet Natak Akademi award in the Creative and Experimental music category, the highest award for a performing artist, conferred by the Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama.

paragraph: He died in 1981 at the age of 78. Noted playback singer and Union Minister of State Babul Supriyo is the grand-son of late R.C. Boral.

paragraph: Section::::Hindi filmography.

paragraph: BULLET::::- Mohabbat Ke Ansu (1932)

paragraph: BULLET::::- Zinda Lash (1932)

paragraph: BULLET::::- Subah Ka Sitara (1932)

paragraph: BULLET::::- Puran Bhagat

paragraph: BULLET::::- Rajrani Meera (1933) (Hindi)

paragraph: BULLET::::- Meerabai (1933) (Bengali)

paragraph: BULLET::::- Dulari Bibi (1933)

paragraph: BULLET::::- Chandidas (1934)

paragraph: BULLET::::- Daku Mansoor (1934)

paragraph: BULLET::::- Mohabbat Ki Kasauti (1934)

paragraph: BULLET::::- After the Earthquake (1935)?

paragraph: BULLET::::- Karwan-E-Hayat (1935) (with Mihirkiron Bhattacharya)

paragraph: BULLET::::- Dhoop Chhaon (1935) (with Pankaj Mullick)

paragraph: BULLET::::- Inquilab (1935)

paragraph: BULLET::::- Manzil (1936) (with Pankaj Mullick)

paragraph: BULLET::::- Karodpati a.k.a. Millionaire (1936) (with Pankaj Mullick)

paragraph: BULLET::::- Anath Aashram 1937

paragraph: BULLET::::- Vidyapati 1937

paragraph: BULLET::::- President 1937 (with Pankaj Mullick)

paragraph: BULLET::::- Abhagin 1938

paragraph: BULLET::::- Street Singer 1938

paragraph: BULLET::::- Sathi 1938 Hindi version of Street Singer

paragraph: BULLET::::- Jawani Ki Reet 1939

paragraph: BULLET::::- Sapera 1939

paragraph: BULLET::::- Haar Jeet 1940

paragraph: BULLET::::- Lagan 1941

paragraph: BULLET::::- Nari 1942 (not sure Bengali or Hindi)

paragraph: BULLET::::- Saugand 1942

paragraph: BULLET::::- Waapas 1943

paragraph: BULLET::::- "Hamrahi" (1945)

paragraph: BULLET::::- Wasiatnaama 1945

paragraph: BULLET::::- Anjangarh 1948

paragraph: BULLET::::- Pahela Admi 1950

paragraph: BULLET::::- Swami Vivekanand 1950 (1955?)

paragraph: BULLET::::- Dard-e-Dil 1953

paragraph: BULLET::::- Shri Chaitanya Mahaprabhu 1954

paragraph: BULLET::::- Amar Saigal 1955 (with Pankaj Mullick and Timir Baran)

paragraph: BULLET::::- "Nilachale Mahaprabhu" (1957)

paragraph: Section::::Bengali filmography.

paragraph: BULLET::::- Dena Paona (1931)

paragraph: BULLET::::- Punarjanma 1932

paragraph: BULLET::::- Chirakumar Sabha 1932

paragraph: BULLET::::- Palli Samaj 1932

paragraph: BULLET::::- Chandidas 1932

paragraph: BULLET::::- Rajrani Meera 1932

paragraph: BULLET::::- Mastuto Bhai 1933

paragraph: BULLET::::- Kapalkundala 1933

paragraph: BULLET::::- Meerabai 1933

paragraph: BULLET::::- Ruplekha 1934

paragraph: BULLET::::- Excuse Me Sir 1934

paragraph: BULLET::::- Debdas 1935 (with Pankaj Mullick)

paragraph: BULLET::::- Bhagyachakra 1935

paragraph: BULLET::::- Grihadaha 1936 (with Pankaj Mullick)

paragraph: BULLET::::- Maya 1936 (with Pankaj Mullick)

paragraph: BULLET::::- Barababu 1937

paragraph: BULLET::::- Didi 1937 (with Pankaj Mullick)

paragraph: BULLET::::- Bidypati 1937

paragraph: BULLET::::- Abhigyan 1938

paragraph: BULLET::::- Sathi 1938

paragraph: BULLET::::- Sapudey 1939

paragraph: BULLET::::- Rajat Jayani 1939

paragraph: BULLET::::- Parajay 1939

paragraph: BULLET::::- Abhinetri 1940

paragraph: BULLET::::- Parichay 1941

paragraph: BULLET::::- Prastisruti 1941

paragraph: BULLET::::- Udayer Pathey 1944

paragraph: BULLET::::- Biraj Bou 1946

paragraph: BULLET::::- Anjangarh 1948

paragraph: BULLET::::- Mantramugda 1949

paragraph: BULLET::::- Bishnupriya 1949

paragraph: BULLET::::- Mantramugdha 1949

paragraph: BULLET::::- Bara Bou 1950

paragraph: BULLET::::- Sparshamani 1951

paragraph: BULLET::::- Paritran 1952

paragraph: BULLET::::- Maa 1952

paragraph: BULLET::::- Neelachaley Mohaprabhu 1957

paragraph: BULLET::::- Sagar Sangame 1959

paragraph: BULLET::::- Natun Fasal 1960

paragraph: Section::::External links.

paragraph: BULLET::::- Musicians

paragraph: BULLET::::- A short history of Bengali cinema

description: Indian composer

wikidata_label: Raichand Boral

wikipedia_title: Raichand Boral


text:
Tatar
rhythmic gymnast
Soviet Union
1973 World
World
European Championships
Siberian Tatar
Omsk
figure skating
Varna
Bulgaria
1969 World Championships
Yugoslavia
1973 World Championships
Rotterdam
Netherlands
Bulgaria
Maria Gigova
Georges Bizet
Carmen
rhythmic gymnastics
Ludmila Savinkova
Elena Karpuchina
European all-around champion
European Championships
Image from Ukraine RG

categories: Siberian Tatar people,Russian rhythmic gymnasts,Sportspeople from Omsk,Tatar people of Russia,1953 births,Soviet rhythmic gymnasts,Living people

paragraph: Galima Shugurova

paragraph: Galima Akhmetkareevna Shugurova (; Tatar: Ğalima Əxmətgərəy qızı Şөgurova, Галима Әхмәтгәрәй кызы Шөгурова; born 8 November 1953) is a retired rhythmic gymnast who competed for the Soviet Union. She is the 1973 World All-around champion and two time (1969, 1977) World All-around silver medalist. She is the first All-around winner of the European Championships.

paragraph: Section::::Personal life.

paragraph: Shugurova was born to a Siberian Tatar family in the city of Omsk, in western Siberia. She studied history at the Omsk Pedagogical Institute.

paragraph: Shugurova graduated from the Omsk Institute of Physical Training in 1975.

paragraph: Section::::Career.

paragraph: Shugurova was introduced to rhythmic gymnastics when she was eight years old. Initially, she was more attracted to figure skating and choreography classes.

paragraph: Shugurova debuted on the world stage as a 15-year-old in Varna, Bulgaria at the 1969 World Championships, winning gold medals in rope and ball. At 15, she made her first appearance at the USSR championships, placing second in the all-around. The following year she won a bronze medal in the USSR Cup competition and was also successful in international competitions in the former Yugoslavia, where the journalists voted her the "most engaging" gymnast.

paragraph: At the 1973 World Championships in Rotterdam, Netherlands, Shurugova shared the world crown in the all-around with Bulgarian Maria Gigova. She also won gold medals in ribbon, ball and clubs. Both of the ribbon routines at this Championship were to the same music – a piece from Georges Bizet's ballet ""Carmen"".

paragraph: Shurugova is considered as one of the great gymnasts that revolutionized the sport of rhythmic gymnastics in the Soviet Union. She was the third Soviet rhythmic gymnast to become world all-around champion—after Ludmila Savinkova (1963) and Elena Karpuchina (1967)—and the first ever European all-around champion in 1978.

paragraph: Section::::Influence.

paragraph: Shugurova helped create a new rhythmic gymnastics element called the "Shugurova" which consists of tipping or spinning a rolling hoop with the feet during a leap.

paragraph: Section::::Achievements.

paragraph: BULLET::::- First ever winner of the European Championships in 1978.

paragraph: Section::::External links.

paragraph: BULLET::::- Image from Ukraine RG

description: Russian rhythmic gymnast

wikidata_label: Galima Shugurova

wikipedia_title: Galima Shugurova


text:
Sumerian
Kuara
Sumer
Uruk
Gilgamesh
Sumerian King List
Enmebaragesi
Kish
Lugalbanda
Dumuzid the Shepherd
Tammuz
Bad-tibira
History of Sumer
Mesopotamian mythology

categories: 26th-century BC rulers,Sumerian rulers,Uruk,Mesopotamian mythology

paragraph: Dumuzid the Fisherman

paragraph: Dumuzid, called "the Fisherman" (cuneiform:; Sumerian: "Dumuzid šukud)", originally from Kuara in Sumer, was the 4th king in the 1st Dynasty of Uruk, and Gilgamesh's predecessor, according to the Sumerian King List. The king list also states that he single handedly captured Enmebaragesi, ruler of Kish, and claims he ruled in Uruk for 100 years — far fewer than the 1200 years it ascribes his predecessor, Lugalbanda "the Shepherd". His given name means "faithful child" in Sumerian.

paragraph: There may have been some confusion in the early Sumerian compositions between this figure and that of "Dumuzid the Shepherd", whom they call the king of Uruk, and who appears as a deity (Tammuz) in later works. However, the Sumerian King List says that Dumuzid the "Shepherd" had ruled before the flood, and locates him in Bad-tibira.

paragraph: Section::::See also.

paragraph: BULLET::::- History of Sumer

paragraph: BULLET::::- Mesopotamian mythology

description: King of Uruk

wikidata_label: Dumuzid the Fisherman

wikipedia_title: Dumuzid the Fisherman


text: American

text: bishop

text: Catholic Church

text: Bishop of Kansas City-St. Joseph

text: Bishop of Springfield-Cape Girardeau

text: Knoxville

text: Tennessee

text: accountant

text: Baptists

text: Boy Scouts of America

text: Eagle Scout

text: Knoxville Catholic High School

text: University of Tennessee

text: degree

text: electrical engineering

text: engineer

text: Houston

text: Texas

text: Pope John Paul II

text: priesthood

text: Saint Meinrad School of Theology

text: Master of Divinity

text: ordained

text: Diocese of Knoxville

text: Anthony O'Connell

text: diocese

text: The Catholic University of America

text: licentiate

text: canon law

text: associate pastor

text: Oak Ridge

text: Chattanooga

text: Notre Dame High School

text: chancellor

text: moderator

text: diocesan curia

text: Alcoa

text: Glacier National Park

text: Montana

text: Secretary of the Interior

text: Gale Norton

text: conservative

text: Tridentine Mass

text: Gregorian chant

text: polyphony

text: Dolly Parton

text: Chet Atkins

text: Alan Jackson

text: Bishop of Springfield-Cape Girardeau

text: Missouri

text: Pope Benedict XVI

text: episcopal consecration

text: Raymond Burke

text: Joseph Kurtz

text: John Leibrecht

text: co-consecrators

text: President

text: Barack Obama

text: University of Notre Dame

text: honorary degree

text: treatment

text: Miss California

text: Carrie Prejean

text: Miss USA 2009

text: same-sex marriage

text: Pope Francis

text: Cathedral of the Immaculate Conception

text: Catholic Church hierarchy

text: Catholic Church in the United States

text: Catholic-Hierarchy

categories: People from Knoxville, Tennessee,1959 births,American Roman Catholic bishops,Roman Catholic bishops of Springfield–Cape Girardeau,Catholic University of America alumni,Eagle Scouts,University of Tennessee alumni,21st-century Roman Catholic bishops,20th-century Roman Catholic priests,Roman Catholic bishops of Kansas City–Saint Joseph,Living people

paragraph: James Vann Johnston Jr.

paragraph: James Vann Johnston Jr. (born October 16, 1959) is an American bishop of the Catholic Church. He is the Bishop of Kansas City-St. Joseph. He served as the Bishop of Springfield-Cape Girardeau from 2008 to 2015.

paragraph: Section::::Early life.

paragraph: James Vann Johnston Jr. was born in Knoxville, Tennessee, to James (an accountant) and Pat (née Huber) Vann Johnston; his grandparents were Baptists. He has four younger siblings: two sisters, Beth and Amy, and one brother, Steve. He was a member of the Boy Scouts of America as a child, also being awarded the rank of Eagle Scout. After attending Knoxville Catholic High School, he studied at the University of Tennessee, from where he obtained his degree in electrical engineering in 1982, and then worked for an engineering consulting firm in Houston, Texas, until 1985.

paragraph: Section::::Priesthood.

paragraph: The faith and generosity of his mother and the teachings of Pope John Paul II inspired him to enter the priesthood, and then entered Saint Meinrad School of Theology, where he earned a Master of Divinity degree. Johnston was ordained for the Diocese of Knoxville by Bishop Anthony O'Connell on June 9, 1990; he was one of the first two priests ordained for the diocese after its creation.

paragraph: From 1994 to 1996, Johnston attended The Catholic University of America, receiving a licentiate in canon law. He then served as an associate pastor at St. Mary's Church in Oak Ridge and at St. Jude Church in Chattanooga, where he also taught at Notre Dame High School. He then returned to Knoxville as associate pastor of Holy Ghost Church, where his family has been longtime parishioners. He was named chancellor and moderator of the diocesan curia of Knoxville in 1996, and later pastor of Our Lady of Fatima Church in Alcoa, in addition to his curial duties, on May 14, 2007.

paragraph: In 2002, Johnston and two other priests, Kevin and John Dowling, saved a father and his two children while hiking in Glacier National Park in Montana. For their actions, the three priests were presented with the Citizen's Award for Bravery by the Secretary of the Interior, Gale Norton, on February 2, 2005. Upon receiving the award, Johnston remarked, "We were all very surprised, partly because it happened two and a half years ago. We didn't think too many people were even aware of it."

paragraph: Considered somewhat conservative in his views, Johnston supports the celebration of Tridentine Mass, but has said he does not "hold a great personal attachment to it" due to his relatively young age. He also supports the use of Gregorian chant and polyphony. He has cited Dolly Parton, Chet Atkins, and Alan Jackson as some of his favorite musical artists.

paragraph: Section::::Episcopal ministry.

paragraph: Section::::Episcopal ministry.:Bishop of Springfield-Cape Girardeau.

paragraph: On January 24, 2008, Johnston was appointed the sixth Bishop of Springfield-Cape Girardeau, Missouri, by Pope Benedict XVI. He later stated at a press conference, "I am eager to learn about the Church in Southern Missouri, and to become part of God's family here." Johnston also announced that, as bishop, he will "seek out those who have fallen away from the practice of their Catholic faith, reach out to the unchurched, and seek to meet brothers and sisters of other faith communities and churches on areas of common belief and shared concerns." He received his episcopal consecration on March 31 from Archbishop Raymond Burke, with Archbishop Joseph Kurtz and Bishop John Leibrecht serving as co-consecrators.

paragraph: In May 2009, noting that President Barack Obama "has taken steps on multiple fronts to undermine the protection of innocent human life", Johnston said the decision of the University of Notre Dame to have Obama deliver the commencement speech at its graduation ceremony and receive an honorary degree was "saddening and bewildering." He also said, "While we must pray for our president, respect his office, and acknowledge and support the good things he does to lead our nation, it is also our duty to make known our opposition to those actions and decisions that stand in direct opposition to the moral law and the foundational principals of America."

paragraph: Johnston criticized the treatment of Miss California Carrie Prejean, who placed second at Miss USA 2009 after being asked if she supported same-sex marriage and responding she did not. He said the incident "shows just how much American culture, in such a short time, has drifted away from the moorings that have given the nation strength and stability...[and] shows the fierce intolerance of many of those who advocate redefining marriage to include same-sex unions."

paragraph: Section::::Episcopal ministry.:Bishop of Kansas City-St. Joseph.

paragraph: On September 15, 2015, Pope Francis named him the bishop of Kansas City-St. Joseph. He was installed on November 4, 2015, in the Cathedral of the Immaculate Conception in Kansas City.

paragraph: Section::::See also.

paragraph: BULLET::::- Catholic Church hierarchy

paragraph: BULLET::::- Catholic Church in the United States

paragraph: BULLET::::- Historical list of the Catholic bishops of the United States

paragraph: BULLET::::- List of Catholic bishops of the United States

paragraph: BULLET::::- Lists of patriarchs, archbishops, and bishops

paragraph: Section::::External links.

paragraph: BULLET::::- Roman Catholic Diocese of Kansas City–Saint Joseph Official Site

paragraph: BULLET::::- Catholic-Hierarchy

description: Catholic bishop

wikidata_label: James Vann Johnston, Jr.

wikipedia_title: James Vann Johnston Jr.


text: Aragon

text: Castilian

text: Catholic Monarchs

text: Canary Islands

text: Las Palmas de Gran Canaria

text: Alonso Fernández de Lugo

text: La Palma

text: Tenerife

text: Puerto de Santa María

text: palm

text: Gran Canaria

text: Pedro de Algaba

text: decapitation

text: Lanzarote

text: La Gomera

text: Hermigua

text: vassals

text: Guanche

text: Conquista de La Gomera

text: Gran Canaria recopilación Histórica

categories: 1481 deaths,History of the Canary Islands,People from Gran Canaria,City founders,Spanish explorers,Assassinated Spanish people,15th-century people from the Kingdom of Aragon

paragraph: Juan Rejón

paragraph: Juan Rejón (died 1481) was an Aragonese captain in the service of the Castilian navy, who was appointed by the Catholic Monarchs to participate in the conquest of the Canary Islands. Rejón founded the city of Las Palmas de Gran Canaria.

paragraph: After being named captain, he recruited a contingent of 600 men, mostly Andalusians. Their number included Alonso Fernández de Lugo, future conqueror of La Palma and Tenerife.

paragraph: From the Puerto de Santa María, the expedition departed on three ships on May 28, 1478. On June 24, 1478, they disembarked off Las Isletas (today part of the city of Las Palmas de Gran Canaria). Rejón set up camp at a nearby palm grove; this became the nucleus of the city of Las Palmas. Tension and problems with his men, including one of his followers, named Bermúdez, resulted in Rejón being imprisoned and then sent back to Spain by his replacement as governor of Gran Canaria, Pedro de Algaba.

paragraph: Rejón was taken in chains to the Castilian court. However, he obtained his liberty, returned to the Canary Islands, and ordered the decapitation of Pedro de Algaba and the exile of Bermúdez to the island of Lanzarote.

paragraph: In 1480, he participated in military operations on the island of La Gomera, not fully conquered by the Castilians. He disembarked with his troops at Hermigua with two goals: to complete conquest of the island and to meet with Hernán Peraza, the feudal lord of La Gomera. However, Peraza considered Rejón, a commander with many troops operating in territory not controlled by Castile, as a threat to his own power. Peraza sent his own troops to Hermigua. In 1481, Rejón was murdered by one of the vassals of Peraza.

paragraph: Peraza was forced to explain Rejón’s death at court. He was pardoned but had to meet certain conditions. He had to participate in the conquest of Gran Canaria with troops from La Gomera and complete conquest of the island, a plan that had not been completed by Rejón. Peraza himself was later killed by the Guanche Hautacuperche.

paragraph: Section::::External links.

paragraph: BULLET::::- Ayuntamiento Las Palmas de Gran Canaria / Historia

paragraph: BULLET::::- Conquista de La Gomera

paragraph: BULLET::::- Gran Canaria recopilación Histórica

paragraph: BULLET::::- Documentos y bibliografía histórica sobre Canarias

description: Spanish explorer

wikidata_label: Juan Rejón

wikipedia_title: Juan Rejón


text:
pop
Palo Alto
California
New Hampshire
Boston University
Boston
hardcore
Instagram
pop punk
Britney Spears
Christina Aguilera
non-binary
bisexual
Pitchfork
Crush on Me

categories: Non-binary musicians,Indie pop,LGBT singers,Bubblegum pop,LGBT people from New Hampshire,Bisexual musicians,Musicians from New Hampshire,LGBT people from California,Year of birth missing (living people)

paragraph: Sir Babygirl

paragraph: Kelsie Hogue, known professionally as Sir Babygirl, is a pop singer, songwriter, and performer.

paragraph: Hogue was born in Palo Alto, California, and raised in New Hampshire. She studied drama at Boston University before moving back to New Hampshire, where she played in the Boston hardcore scene and developed the "Sir Babygirl" persona on Instagram.

paragraph: Her musical influences include hardcore, pop punk, as well as early-2000s pop artists such as Britney Spears and Christina Aguilera. Hogue is drawn to the excesses and humor of pop music, but as a non-binary and bisexual person, wants to make pop that speaks to the queer experience, stating, "I always wanted to blur the lines, and challenge people to see that women and marginalized genders in music can have a fucking sense of humor and be taken seriously."

paragraph: Her debut album, "Crush on Me," was released on Father/Daughter records in February, 2019. Hogue wrote and produced the album in her bedroom studio, starting in 2016. Pitchfork gave the album a 6.8 out of 10 rating, describing it as "likely to be among the year’s most "extra" albums."

paragraph: Section::::Discography.

paragraph: BULLET::::- "Crush on Me" (2019)

description: American pop singer

wikidata_label: Sir Babygirl

wikipedia_title: Sir Babygirl


text:
Lubin Manufacturing Company
Vitagraph Studios
Fox Film Corporation
Lawrence Semon
Broadway
musicals
Sunset Sprague
Western
Arthur Hotaling
Joseph Kaufman
George Terwilliger
Blaming the Duck, or Ducking the Blame
Edwin McKim
Lawrence Semon
Perry N. Vekroff
Chester Withey
A Night in New Arabia
Ashley Miller
Square Shooter
Paul Cazeneuve
Thomas N. Heffron
Broadway

categories: 1894 births,American musical theatre actresses,Actresses from Louisville, Kentucky,American silent film actresses

paragraph: Patsy De Forest

paragraph: Patsy De Forest (born Helen May Lanagan; May 1, 1894 – August 1966) was an American actress of the silent cinema era who performed on the stage since childhood before acting in films.

paragraph: Section::::Career.

paragraph: De Forest acted in over eighty films from 1912 to 1920, with over thirty appearances each in 1915 and in 1916. She worked with several production companies including Lubin Manufacturing Company, Vitagraph Studios and Fox Film Corporation. She acted in several comedies directed by Lawrence Semon of Vitagraph in the mid-1910s. She also acted in some Broadway musicals.

paragraph: De Forest's last film appearance was in Sunset Sprague, a 1920 Western in which she was the female lead. She died in August 1966 at the age of 72.

paragraph: Section::::Filmography.

paragraph: BULLET::::- "Wifey's Ma Comes Back", directed by Arthur Hotaling (1912)

paragraph: BULLET::::- "Patsy at School", directed by Percy Winter (1914)

paragraph: BULLET::::- "Patsy's First Love" (1915)

paragraph: BULLET::::- "Feel My Muscle"

paragraph: BULLET::::- "Patsy at College"

paragraph: BULLET::::- "Patsy's Vacation"

paragraph: BULLET::::- "Patsy in Business"

paragraph: BULLET::::- "Patsy on a Trolley Car"

paragraph: BULLET::::- "Patsy in a Seminary"

paragraph: BULLET::::- "His Soul Mate", directed by Joseph Kaufman (1915)

paragraph: BULLET::::- "Patsy at the Seashore"

paragraph: BULLET::::- "Patsy's Elopement"

paragraph: BULLET::::- "The Human Investment", directed by George Terwilliger (1915)

paragraph: BULLET::::- "Patsy Among the Fairies"

paragraph: BULLET::::- "Patsy in Town"

paragraph: BULLET::::- "Patsy Among the Smugglers"

paragraph: BULLET::::- "Patsy on a Yacht"

paragraph: BULLET::::- "Patsy, Married and Settled"

paragraph: BULLET::::- "Out for a Stroll"

paragraph: BULLET::::- "The New Butler", directed by Arthur Hotaling (1915)

paragraph: BULLET::::- "A Day on the Force"

paragraph: BULLET::::- "The New Valet"

paragraph: BULLET::::- "Wifey's Ma Comes Back"

paragraph: BULLET::::- "When Wifey Sleeps"

paragraph: BULLET::::- "Billie's Heiress"

paragraph: BULLET::::- "Billie's Debut"

paragraph: BULLET::::- "Queenie of the Nile"

paragraph: BULLET::::- "Think of the Money"

paragraph: BULLET::::- "Playing Horse"

paragraph: BULLET::::- "The Cellar Spy"

paragraph: BULLET::::- "His Three Brides"

paragraph: BULLET::::- "Blaming the Duck, or Ducking the Blame"

paragraph: BULLET::::- "And the Parrot Said...?"

paragraph: BULLET::::- "The Great Detective", directed by Edwin McKim (1915)

paragraph: BULLET::::- "This Isn't the Life"

paragraph: BULLET::::- "His Lordship", directed by Edwin McKim (1916)

paragraph: BULLET::::- "Fooling Uncle"

paragraph: BULLET::::- "The New Janitor"

paragraph: BULLET::::- "The Butler"

paragraph: BULLET::::- "The Fatal Bean"

paragraph: BULLET::::- "Otto the Bllboy"

paragraph: BULLET::::- "Frocks and Frills"

paragraph: BULLET::::- "Skirts and Cinders"

paragraph: BULLET::::- "Otto the Artist"

paragraph: BULLET::::- "Otto the Hero"

paragraph: BULLET::::- "Trilby Frilled"

paragraph: BULLET::::- "Otto the Reporter"

paragraph: BULLET::::- "Otto the Cobbler"

paragraph: BULLET::::- "Otto's Legacy"

paragraph: BULLET::::- "No Place Like Jail"

paragraph: BULLET::::- "Otto the Traffic Cop"

paragraph: BULLET::::- "Otto's Vacation"

paragraph: BULLET::::- "Otto the Sleuth"

paragraph: BULLET::::- "Otto, the Salesman"

paragraph: BULLET::::- "Otto, the Gardener"

paragraph: BULLET::::- "Romance and Roughhouse", directed by Lawrence Semon (1916)

paragraph: BULLET::::- "There and Back"

paragraph: BULLET::::- "A Villainous Villain"

paragraph: BULLET::::- "Love and Loot"

paragraph: BULLET::::- "Sand, Scamps and Strategy"

paragraph: BULLET::::- "She Who Last Laughs"

paragraph: BULLET::::- "Walls and Wallops"

paragraph: BULLET::::- "Jumps and Jealousy"

paragraph: BULLET::::- "His Conscious Conscience"

paragraph: BULLET::::- "Hash and Havoc"

paragraph: BULLET::::- "Help! Help! Help!"

paragraph: BULLET::::- "Rah! Rah! Rah!"

paragraph: BULLET::::- "Shanks and Chivalry"

paragraph: BULLET::::- "Speed and Spunk"

paragraph: BULLET::::- "Bullies and Bullets"

paragraph: BULLET::::- "Cops and Cussedness"

paragraph: BULLET::::- "The Gift of the Magi", directed by Brinsley Shaw (1917)

paragraph: BULLET::::- "Her Secret", directed by Perry N. Vekroff (1917)

paragraph: BULLET::::- "An Alabaster Box", directed by Chester Withey (1917)

paragraph: BULLET::::- "The Guilty Party", directed by Thomas R. Mills (1917)

paragraph: BULLET::::- "The Love Doctor", directed by Paul Scardon (1917)

paragraph: BULLET::::- "A Night in New Arabia", directed by Thomas R. Mills (1917)

paragraph: BULLET::::- "The Last Leaf", directed by Ashley Miller (1917)

paragraph: BULLET::::- "A Madison Square Arabian Night"

paragraph: BULLET::::- "Lost on Dress Parade"

paragraph: BULLET::::- "Bullin' the Bullsheviki"

paragraph: BULLET::::- "My Girl Suzanne"

paragraph: BULLET::::- "Square Shooter"

paragraph: BULLET::::- "Sunset Sprague", directed by Paul Cazeneuve and Thomas N. Heffron (1920)

paragraph: Section::::Theatrical Appearances.

paragraph: BULLET::::- "All Aboard" (Broadway, June 5, 1913)

paragraph: BULLET::::- "The Red Canary" (Broadway, April 13, 1914)

paragraph: BULLET::::- "The Peasant Girl" (Broadway, March 2, 1915)

paragraph: BULLET::::- "Come Along" (Broadway, April 8, 1919)

paragraph: BULLET::::- "Oh, What A Girl!" (Broadway, July 28, 1919)

description: American actress (1894-1966)

wikidata_label: Patsy De Forest

wikipedia_title: Patsy De Forest


text:
rabbi
biblical
Ottoman Empire
Joseph Caro
Hayim Vital
Yom Tov Tzahalon
Shelah HaKadosh
Ari HaKadosh
Ohr HaChaim HaKadosh
homiletic
Torah
Prophets
Joseph Caro
Shulchan Aruch
Hayim Vital
Kabbalah
Arizal
Abravanel
Talmud
Midrash
Zohar
R. Levi ben Gershon
Maimonides
Song of Solomon
Pentateuch
Belvedere
Jos. b. Aryeh Loeb
Biblia Rabbinica
Song of Solomon
allegory
book of Ruth
Lamentations of Jeremiah
Western Wall
Ecclesiastes
Ecclesiastes
book of Esther
megillot
Eleazer b. Hananiah Tarnigrad
Abot
Haggadah
Responsa
Azariah dei Rossi
Joseph Caro
Dirge

categories: 1593 deaths,Early Acharonim,Rabbis in Safed,16th-century rabbis,Rabbis of the Ottoman Empire,1508 births,Kabbalists,16th-century people of the Ottoman Empire,Rabbis in Ottoman Galilee

image: 512px-ציון_האלשיך_הקדוש.JPG

paragraph: Moshe Alshich

paragraph: Moshe Alshich , also spelled Alshech, (1508–1593), known as the "Alshich Hakadosh (the Holy)", was a prominent rabbi, preacher, and biblical commentator in the latter part of the 16th century.

paragraph: The Alshich was born in 1508 in the Ottoman Empire, and was the son of Hayyim Alshich. He later moved to Safed where he became a student of Rabbi Joseph Caro. His students included Rabbi Hayim Vital and Rabbi Yom Tov Tzahalon. He died in Safed in 1593.

paragraph: Section::::Significance.

paragraph: Only a few rabbis were granted the title ""Hakadosh"" throughout Jewish history. Alongside the Alshich were the "Shelah HaKadosh", the "Ari HaKadosh" and the "Ohr HaChaim HaKadosh", all of them distinctive personalities in their times. Various reasons have been suggested as to why the Alshich received the ""Hakadosh"" title.

paragraph: His homiletical commentaries on the Torah and the Prophets enjoy much popularity and are still studied today, largely because of their powerful influence as practical exhortations to virtuous life.

paragraph: Section::::Life.

paragraph: He was a disciple of R. Joseph Caro, author of the "Shulchan Aruch"; and his own disciples included the Kabbalist R. Hayim Vital. Although the Alshich belonged to the circle of the Kabbalists who lived at Safed, his works rarely betray any traces of the Kabbalah. He is celebrated as a teacher, preacher, and casuist.

paragraph: Little is known of his life. In his works he avoids mention of himself, telling only of his course of study; thus in the preface to his commentary on the Pentateuch he says:

paragraph: Legend has it that his son was taken as a child and became a Moslem, and the Arizal authored a special prayer for the son's return.

paragraph: Section::::Works.

paragraph: These lectures were afterward published as "Commentaries" (perushim) on the books of the Holy Scriptures, and Alshich gives a remarkable reason for their publication: "Many of those who had listened to my lectures repeated them partly or wholly in their own names. These offenses will be prevented by the publication of my own work". These lectures, though somewhat lengthy, were not tedious to his audience. The author repeatedly declares that in their printed form (as "Commentaries") he greatly curtailed them by omitting everything which was not absolutely necessary, or which he had already mentioned in another place.

paragraph: Like Abravanel and some other commentators, Alshich headed each section of his comments with a number of questions which he anticipated on the part of the reader; he then proceeded to give a summary of his view, and concluded with answering all the questions seriatim. His Commentaries abound in references to Talmud, Midrash and Zohar, but contain scant references to other commentaries, such as the works of Abravanel, R. Levi ben Gershon or Maimonides. His explanations are all of a homiletical character; his sole object being to find in each sentence or in each word of the Scriptures a moral lesson, a support for trust in God, encouragement to patient endurance, and a proof of the vanity of all earthly goods as compared with the everlasting bliss to be acquired in the future life. He frequently and earnestly appeals to his brethren, exhorting them to repent, and to abandon, or at least restrict, the pursuit of all worldly pleasures, and thus accelerate the approach of the Messianic era. Alshich possessed an easy and fluent style; his expositions are mostly of an allegorical character, but very rarely approach mysticism. In his commentary on the Song of Solomon, he calls "peshaִt" (literal explanation) and "sod" (mystical interpretation) the two opposite extremes, while he declares his own method of introducing allegorical exposition to be the safe mean between these extremes. Alshich wrote the following commentaries, most of which have appeared in several editions:

paragraph: BULLET::::1. "Torat Mosheh" (Commentary on the Pentateuch), first ed. Belvedere near Constantinople, about 1593. Complete, with Indexes, Venice, 1601.

paragraph: BULLET::::2. An abstract of this commentary was prepared by Jos. b. Aryeh Loeb, and has appeared in various forms (entitled: "Qitsur Alshich 'al ha-Torah"), Amsterdam, 1748.

paragraph: BULLET::::3. "Marot ha-Tsobeot" (Collected Visions), on the prophets and their prophecies, Venice, 1803-7.

paragraph: BULLET::::4. Extracts from this commentary are included in "Minhah Qe'tannah," a commentary on the earlier prophets; published in the Biblia Rabbinica (Qohelet Mosheh), Amsterdam, 1724.

paragraph: BULLET::::5. "Romemot El" (Praises of God), on the book of Psalms, Venice, 1605.

paragraph: BULLET::::6. "Rab Peninim" (Multitude of Pearls), on Proverbs, Venice, 1601.

paragraph: BULLET::::7. "Helqat Mehoqeq" (The Lawgiver's Portion), on Job, Venice, 1603.

paragraph: BULLET::::8. "Shoshanat ha-'Amaqim" (Lily of the Valleys), on the Song of Solomon. This commentary was the first to appear in print, and was edited by Alshich himself in 1591. According to this commentary, the Song is an allegory, and represents a dialogue between God and exiled Israel on the latter's mission.

paragraph: BULLET::::9. "'Ene Mosheh" (Eyes of Moses), on Ruth. Alshich says of the book of Ruth, "Surely from it we might take a lesson how to serve God"; and illustrates this statement throughout his commentary, Venice, 1601.

paragraph: BULLET::::10. "Devarim Nihumim" (Comforting Words), on the "Lamentations of Jeremiah". The title is not merely a euphemism for Lamentations; the author repeatedly attempts to show that there is no cause for despair, God being with Israel, and though the Temple is destroyed the Shekinah has not departed from the Western Wall, Venice, 1601.

paragraph: BULLET::::11. "Devarim Tovim" (Good Words), on Ecclesiastes. Alshich calls Ecclesiastes, on account of its deep thoughts, "Waters without end" (oceans). He endeavors in the commentary to illustrate, as the central idea of the book, the dictum, "All is vain, except the fear of the Lord, which is the essential condition of man's real existence," Venice, 1601.

paragraph: BULLET::::12. "Massat Mosheh" (Moses' Gift), on the book of Esther, presented by the author to his brethren as a Purim gift, Venice, 1601.

paragraph: BULLET::::13. The commentaries of Alshich on these last-named five books ("megillot", "scrolls") appeared in an abridged form, edited by Eleazer b. Hananiah Tarnigrad, Amsterdam, 1697.

paragraph: BULLET::::14. "Habatselet ha-Sharon" (The Rose of Sharon), on the book of Daniel, Safed, 1563, and Venice, 1592.

paragraph: BULLET::::15. A commentary on the "Hafִtarot" called "Liqqute Man" (Gatherings of Manna), was compiled chiefly from "Marot ha-Tsobeot," by E. M. Markbreit, Amsterdam, 1704.

paragraph: BULLET::::16. "Yarim Mosheh" is the title of a commentary on Abot, gathered from the works of Alshich by Joseph B. M. Schlenker, Fürth, 1764.

paragraph: BULLET::::17. A commentary of Alshich on the Haggadah (Home Service for the first nights of Passover) appears in the edition of the Haggadah called "Bet Horim" (House of Free Men). The commentary is full of interesting remarks and earnest exhortations (Metz, 1767). Even in the introduction the laws for Passover and the order for the evening are treated allegorically, and made the vehicle for religious meditation. It is, however, not likely that Alshich wrote these notes for the Haggadah. They were probably gathered from his works long after his death, as otherwise the Haggadah would have been published with his commentary much earlier.

paragraph: BULLET::::18. "Responsa"; as a casuist he was frequently consulted by other rabbis, and his decisions were collected in a volume of responsa (Venice, 1605; Berlin, 1766). His contemporaries frequently quote his opinions. During his lifetime Azariah dei Rossi produced his "Meor 'Enayim" (Light for the Eyes), in which the author rejected some beliefs generally received as traditional; Alshich, at the request of his teacher, R. Joseph Caro, wrote a declaration against the "Meor 'Enayim" as being contrary and dangerous to the Jewish religion ("Kerem Chemed", v. 141).

paragraph: BULLET::::19. Alshich wrote also a poem, "Dirge on the Exile of Israel," in a very simple style in ten rhyming verses. It has been introduced into various earlier morning rituals, such as "Ayelet ha-Shachar" (The Morning Dawn). It is also contained in the collection of prayers and hymns called "Sha'are Zion" (The Gates of Zion).

description: Ottoman rabbi and kabbalist.

wikidata_label: Moshe Alshich

wikipedia_title: Moshe Alshich


text: Montreal

text: Quebec

text: Profile on Allmusic

categories: Electronic dance music DJs,Canadian DJs,Musicians from Montreal,Canadian electronic musicians,Living people

paragraph: Eekkoo

paragraph: Jonathan Doyon, known professionally as Eekkoo (pronounced "echo"), is a Canadian electronic music producer from Montreal, Quebec.

paragraph: Section::::Career.

paragraph: In November 2012, deadmau5 followed Eekkoo on Soundcloud, who was the first person he followed.

paragraph: In 2014, Eekkoo collaborated with Casper Whirlin and Sailor & I to release the song "Elysium". He also released the EP "Hell Is Other People".

paragraph: In 2016, Eekkoo released the single "Zwart" which is part of the 3-song EP, "Nightingale", that was released on December 5, 2016. The song was described as having "dark, tech-leaning progressive aura." He also released the EP "LETTERS", which includes the single "Letters (Capital)" with collaborator Sailor & I.

paragraph: On 26 January 2018, he released the EP "Forever" on mau5trap, after several years of absence from the label.

paragraph: Section::::Discography.

paragraph: Extended plays

paragraph: BULLET::::- "Eekkoo" (2013)

paragraph: BULLET::::- "Hell Is Other People" (2014)

paragraph: BULLET::::- "Nightingale" (2016)

paragraph: BULLET::::- "Forever" (2018)

paragraph: Singles

paragraph: BULLET::::- "Alligator" (2019)

paragraph: Section::::External links.

paragraph: BULLET::::- Profile on Allmusic

description: Canadian remixer and DJ

wikidata_label: Eekkoo

wikipedia_title: Eekkoo


text: Vilanova i la Geltrú

text: Barcelona

text: Spanish

text: Catalan

text: Culture of Barcelona

text: Barcelona Symphony Orchestra

text: Palau de la Música Catalana

text: Ricardo Lamote de Grignon

text: Antoni Ros-Marbà

text: Xavier Montsalvatge

text: Biblioteca de Catalunya

text: Lluís Masriera

text: El giravolt de maig

text: Josep Carner

text: Joan Oliver

text: Empordà

text: Adrià Gual

text: Josep Carner

text: Joan Maragall

text: Trinitat Catasús

text: Josep Maria de Sagarra

text: Tomàs Garcés

text: Concepció Rabell prize

text: Clementina Arderiu

text: Ignasi Iglésias

text: Joan Salvat-Papasseit

text: Albèniz prize

text: Garcilaso de la Vega

text: Francisco de Quevedo

text: Lope de Vega

text: Manuel Bertran i Oriola

text: Antonio Noriega

text: Mossèn Pere Ribot

text: Sardanes

text: glossa

text: Mt. Neulós

text: count Arnau

text: Tamariu

text: Cantallops

text: Perafita

text: Vallgorguina

text: La Mà de Guido

text: El retablo de maese Pedro

categories: 20th-century conductors (music),People from Vilanova i la Geltrú,20th-century violinists,1895 births,20th-century composers,1962 deaths,Spanish violinists,Catalan composers,20th-century Spanish musicians,Sardana,Male violinists,Male conductors (music),Catalan conductors (music)

paragraph: Eduard Toldrà

paragraph: Eduard Toldrà Soler (; Vilanova i la Geltrú 7 April 1895 – Barcelona, 31 May 1962) was a Spanish Catalan conductor and composer.

paragraph: Toldrà played an important role in the Culture of Barcelona. In 1944 he founded the Barcelona Symphony Orchestra at the Palau de la Música Catalana, where his deputy in 1957 was his friend Ricardo Lamote de Grignon. Toldrà was a regular juror on the Maria Canals International Music Competition. His students included Antoni Ros-Marbà and Xavier Montsalvatge.

paragraph: The personal papers of Eduard Toldrà are preserved in the Biblioteca de Catalunya.

paragraph: Section::::Works.

paragraph: Section::::Works.:Theatrical.

paragraph: BULLET::::- 1924 four musical illustrations for the play de Lluís Masriera: "Un idil·li prop del cel o, pel juny, carabasses".

paragraph: BULLET::::- 1928 "El giravolt de maig" – The May Sunflower, comic opera in one act with libretto by Josep Carner

paragraph: BULLET::::- 1951 "Oh, Tossa!", hymn for the theatrical spectacle by Joan Oliver: "Quasi un paradís" – almost paradise.

paragraph: Section::::Works.:Chamber music.

paragraph: BULLET::::- 1914 Quartet in C minor, for string quartet

paragraph: BULLET::::- 1920 "Vistes al mar" – sea views, for string quartet, later arranged for chamber orchestra

paragraph: BULLET::::- 1921 Six sonnets, for violin and piano. One of them, Ave Maria, also adapted for orchestra

paragraph: BULLET::::- 1931 "Les danses de Vilanova", for string quartet, piano and bass, adaption of the "glossa" of 1921

paragraph: Section::::Works.:Symphonic music.

paragraph: BULLET::::- 1919 Suite in E Major

paragraph: BULLET::::- 1926 "Empúries" (Invocacion to Empordà) a "sardana lliure" for orchestra

paragraph: BULLET::::- 1930 "La maledicció del comte Arnau" The Curse of Count Arnau, lyrical impression for orchestra, from the sardana of 1926

paragraph: BULLET::::- 1934 "La filla del marxant" – the merchant's daughter, suite written for the drama in three acts of Adrià Gual "Lionor o la filla del marxant".

paragraph: Section::::Works.:Songs.

paragraph: In the opinion of Michael Oliver the songs of Toldrá are "mostly brief, simple and warmly lyrical, often with a touch of what Mompou has called 'urban popularism'" For piano accompaniment unless orchestra indicated.

paragraph: BULLET::::- 1915 "Menta i farigola" – Ca. mint and thyme; "El rei Lear" – King Lear; "Els obercocs" Ca.; "Les petites collidores" – the little collectors (Josep Carner), "Festeig" – Ca. courtship; "Romança sense paraules" – song without words (Joan Maragall)

paragraph: BULLET::::- 1916 "Matinal" – morning (Maragall)

paragraph: BULLET::::- 1920 "L'hort" (Maragall); "Maig" – May; "Abril" – April; "Cançó d'un bell amor" – song of a sweet love (Trinitat Catasús)

paragraph: BULLET::::- 1923 "Canticel" (Carner); "Les garbes dormen al camp" – the sheaves sleep in the field (Josep Maria de Sagarra)

paragraph: BULLET::::- 1924 "A l'ombra del lledoner" – Ca. in the shadow of a hackberry bush (Tomàs Garcés) for voice and orchestra; "Romanç de santa Llúcia" – Song of Saint Lucia; "Vinyes verdes vora el mar" (Sagarra)

paragraph: BULLET::::- 1925 "El gessamí i la rosa" – the jasmine and the rose (Carner); Cançó de l'amor que passa – song of love which passes (Garcés)

paragraph: BULLET::::- 1926 "A muntanya, Cocorococ!" – in a mountain, cuckoo!; "Recança" – Regret (Carner); "Camins de fada" – Sp. fairy paths (Garcés); "Cançó de vela" – song of sailing (Sagarra)

paragraph: BULLET::::- 1927 "Garba", Concepció Rabell prize cycle of six songs: "Platxèria" Ca. (Salvat-Papasseit), "La mar estava alegre" – Sp. the sea was glad (Maragall), "Cançó incerta" – uncertain song (Carner), "Cançó de l'oblit" – song of forgetting (Garcés), "Cançó de passar cantant" – song of passing by singing (Sagarra); "Anacreòntica" – Anacreotic fragments (Clementina Arderiu) with version for voice and orchestra.

paragraph: BULLET::::- 1929 "Floreix l'ametller" = Ca. the almond tree flowers, "Esplai" recreation (Ignasi Iglésias); "Divendres Sant" – Ca. Good Friday (Carner)

paragraph: BULLET::::- 1936 "La rosa als llavis" – the rose to the lips (Joan Salvat-Papasseit), voice and orchestra, Albèniz prize.

paragraph: BULLET::::- 1940 "La zagala alegre" – Sp. the happy girl (Pablo de Jérica); "Mañanita de San Juan" Sp. on the morning of the Feast of Saint John (Anon 16th century)

paragraph: BULLET::::- 1941 "Nadie puede ser dichoso" – Sp. Nobody can be happy (Garcilaso de la Vega); "Después que te conocí" – Since I've known you (Francisco de Quevedo); "Cantarcillo"; "Madre, unos ojuelos vi" (Lope de Vega)

paragraph: BULLET::::- 1947 "Muntanya d'amor" – mountain of love (Manuel Bertran i Oriola)

paragraph: BULLET::::- 1951 "As froliñas dos toxos" (Antonio Noriega)

paragraph: BULLET::::- 1958 "Cançó per a fer dormir l'Eduard i Villancet" – song to put Eduard i Villancet to sleep, dedicated to his family.

paragraph: BULLET::::- 1960 "Aquarel·la del Montseny" – a watercolour of Montseney (Mossèn Pere Ribot), with string quartet.

paragraph: Section::::Works.:Sardanes.

paragraph: Sardanes and music for brass.

paragraph: BULLET::::- 1912 Sardana for flute and piano

paragraph: BULLET::::- 1917 "Sol ponent" – setting sun

paragraph: BULLET::::- 1918 "Gentil Antònia" – gentle Antònia

paragraph: BULLET::::- 1919 "Marinera" – the sailor

paragraph: BULLET::::- 1920 Sardana revessa no.1 "Nuvolada" – the clouds.

paragraph: BULLET::::- 1921 Sardana revessa no.2 "Lluna plena" – full moon

paragraph: BULLET::::- 1921 Sardana revessa no.3 "Mariona"; the glossa "Les danses de Vilanova" – The dances of Vilanova.

paragraph: BULLET::::- 1922 "L'hereu i la pubilla" – The heir and heiress, "La Nevada" – Snow, "Esperança" – Hope, Caterina d'Alió; Sol ixent –

paragraph: BULLET::::- 1923 "Camperola" – the farm

paragraph: BULLET::::- 1924 "La Ciseta"; "L'Hostal de la Peira"; "El bac de les ginesteres", sardana for piano; "Virolet"

paragraph: BULLET::::- 1925 "Ofrena" – offering; "La fageda d'en Jordà" – the Jordan fig tree; "Puig Neulós" – Mt. Neulós

paragraph: BULLET::::- 1926 "El roserar" – The rose garden; "el poema per a tres cobles i timbales" – poem for 3 brass instruments and cymbals; "La maledicció del Comte Arnau" – the curse of count Arnau.

paragraph: BULLET::::- 1929 "Atzavares i baladres" – agaves and oleandres

paragraph: BULLET::::- 1930 Tamariu

paragraph: BULLET::::- 1931 Cantallops

paragraph: BULLET::::- 1932 "Coll Forcat i Salou"

paragraph: BULLET::::- 1934 "Faluga"

paragraph: BULLET::::- 1935 "Perafita i Capvespre" – sunset at Perafita

paragraph: BULLET::::- 1946 Vilanovina i Maria Isabel

paragraph: BULLET::::- 1948 "Mariàngela"

paragraph: BULLET::::- 1950 Vallgorguina

paragraph: Many of his works are published by La Mà de Guido.

paragraph: Section::::Selected Recordings of Toldrá as conductor.

paragraph: BULLET::::- "El retablo de maese Pedro"

paragraph: Section::::External links.

paragraph: BULLET::::- Fons Eduard Toldrà de la Biblioteca de Catalunya.

description: Music conductor and composer

wikidata_label: Eduard Toldrà

wikipedia_title: Eduard Toldrà


text:
Bridlington
East Riding of Yorkshire
Chris Helme
Alice Gold
Ben Marwood
BBC Introducing
Chris Helme
The Seahorses
Mark Morriss
The Bluetones
Ben Marwood
Alice Gold
Ryan Spendlove
Blair Dunlop
Edwina Hayes
Jon Windle
Beverley Folk Festival
Staxtonbury Music Festival
Musicport World Music Festival
Bridlington Spa
folk
Edwina Hayes
iTunes
Greatest Hits TV
Sky Digital
Lava TV
Engineer Records
The Gaslight Anthem
Fightstar
Funeral For a Friend
Alan Raw
BBC Introducing
BBC Humberside
Yorkshire Coast Radio
Vixen 101
Jake Morley
Amazing Radio
The Beatles
The Kinks
Green Day
The Ataris
No Use For a Name
Frank Turner
Elvis Costello
Marit Larsen
Edwina Hayes
Britpop
Oasis
Blur
Pop folk
In at the Eye Records
Official website
Ben Parcell on Bandcamp
BBC Music Profile
Press items on Reverbnation
The Tune interviews Ben Parcell
Yorkshire Coast Radio Interview
Seaside Voices interviews Ben Parcell
Gashouse Radio interviews Ben Parcell

categories: English folk singers,British folk-pop singers,People from Bridlington,English singer-songwriters,1986 births,Folk punk musicians,Living people

paragraph: Ben Parcell

paragraph: Ben Parcell is an English singer songwriter, born and residing in Bridlington, East Riding of Yorkshire. Since going solo in 2010 he has played over 300 shows around the UK supporting several established acts including Chris Helme, Alice Gold and Ben Marwood including appearing on BBC Introducing and having a music video placed on rotation on UK Digital TV.

paragraph: Section::::Musical career.

paragraph: Ben is a multi-instrumentalist proficient in vocals, electric and acoustic guitar, mandolin, bass, keyboards and drums, and has performed in bands since 2002. He was the lead singer and guitarist of pop punk band 'The Trailers' from between 2002–2005.

paragraph: Ben currently performs as a solo performer with acoustic guitar and vocals. He has supported several established artists on tour dates: Chris Helme of The Seahorses, Mark Morriss of The Bluetones, Ben Marwood, Alice Gold, Ryan Spendlove, Blair Dunlop, Edwina Hayes, Jon Windle, as well as performing at several notable music festivals including Beverley Folk Festival Staxtonbury Music Festival and Musicport World Music Festival at Bridlington Spa in 2011.

paragraph: In 2010 his debut, solo 10 track album "Humble Beginnings" was released. Parcell performed all the instruments on the limited edition pressing of 1000 CDs which has had several critically acclaimed reviews from respected publications.

paragraph: 2011 sees Ben's music take a slightly different direction, bringing more traditional folk influences into his repertoire. His latest E.P 'Painted By Numbers' which is an acoustic affair, features 4 tracks of stripped down organic sound featuring special guest Edwina Hayes on backing vocals. The 2011 E.P reached number 40 in the iTunes daily singer songwriter chart.

paragraph: His debut music video "Close Your Eyes" has been on regular rotation on UK TV when it was accepted for the playlist on Greatest Hits TV on Sky Digital as part of the Lava TV showcase.

paragraph: His song 'The Only One' is featured on the benefit compilation 'Unity' for the Japan Tsunami Charity by Engineer Records which features mainstream acts such as The Gaslight Anthem, Fightstar and Funeral For a Friend. Ben was invited by Alan Raw to play a live acoustic session on BBC Introducing as well as having his album and E.P tracks played regularly on BBC Humberside and recently made it onto the featured undiscovered artist of the week on Yorkshire Coast Radio. He has also been a guest on Vixen 101 performing alongside Jake Morley. The track 'Close Your Eyes' was aired on national radio station Amazing Radio

paragraph: Section::::Musical influences.

paragraph: Parcell is influenced from a wide range of music from whom he has grown up with, spanning different genres including 1960s Pop music: The Beatles, The Kinks. American Pop Punk bands such as: Green Day, The Ataris, No Use For a Name. Singer songwriters Frank Turner, Elvis Costello, Marit Larsen, Edwina Hayes and Britpop bands such as Oasis and Blur. He combines these influences to create music which he describes as Pop folk.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Albums.

paragraph: BULLET::::- "Humble Beginnings" (2010)

paragraph: BULLET::::- "Expectations" (2013)

paragraph: BULLET::::- "Cover Stories" vol 1(2014)

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

paragraph: BULLET::::- "Painted By Numbers" (2011)

paragraph: Section::::Discography.:Singles.

paragraph: BULLET::::- "I Don't Need You" (2013) In at the Eye Records

paragraph: Section::::Discography.:Compilation appearances.

paragraph: BULLET::::- "Unity – a benefit for the children of the Japanese tsunami disaster" – "The Only One" (2011) Engineer Records

paragraph: Section::::Music videos.

paragraph: BULLET::::- "Close Your Eyes" (2010)

paragraph: BULLET::::- "Stay in Touch" (2011)

paragraph: BULLET::::- "Expectations" (2013)

paragraph: BULLET::::- "I Don't Need You "(2013)

paragraph: Section::::Musical Endorsements.

paragraph: Parcell is a featured artist on the Turner Guitars website, and uses the Turner 60CE Dreadnought for unplugged performances and recording sessions.

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

paragraph: BULLET::::- Ben Parcell on Bandcamp

paragraph: BULLET::::- BBC Music Profile

paragraph: BULLET::::- Press items on Reverbnation

paragraph: BULLET::::- The Tune interviews Ben Parcell 11 October 2011

paragraph: BULLET::::- Yorkshire Coast Radio Interview 10 July 2011

paragraph: BULLET::::- Seaside Voices interviews Ben Parcell 3 November 2010

paragraph: BULLET::::- Gashouse Radio interviews Ben Parcell 16 October 2011

description: English singer-songwriter

wikidata_label: Ben Parcell

wikipedia_title: Ben Parcell


text:
Romania
ITF Men's Circuit
ATP Challenger Tour
Romania Davis Cup Team
ATP
John Roddick
University of Oklahoma

categories: 1988 births,University of Oklahoma alumni,Romanian male tennis players,Living people

paragraph: Andrei Dăescu

paragraph: Andrei Dăescu (born 28 August 1988) is a Romanian professional tennis player playing on the ITF Men's Circuit and the ATP Challenger Tour and current member of the Romania Davis Cup Team. On February 27, 2012, he reached his highest ATP singles ranking of 654 whilst his best doubles ranking was 355 on April 2, 2012.

paragraph: He is coached by Silviu Tănăsoiu and John Roddick and he is also an alumnus of the University of Oklahoma.

description: Romanian tennis player

wikidata_label: Andrei Dăescu

wikipedia_title: Andrei Dăescu


text: sitarist

text: musicologist

text: Paris Conservatoire

text: Hindustani classical music

text: sitar

text: Banaras Hindu University

text: Lalmani Misra

text: ragas

text: Maurice Fleuret

text: Hindustani Raga Sangeet Online

text: Hindustani Raga Sangeet Online

categories: Sitar players,Living people,People from Lyon,1951 births,21st-century French musicologists,20th-century French musicologists,Academics of the Conservatoire de Paris

paragraph: Patrick Moutal

paragraph: Patrick Moutal is a French sitarist and musicologist. He has been teaching north Indian classical music at the Paris Conservatoire (CNSMDP) since 1984 (Jazz & Improvised Musics and Pedagogy dpts).

paragraph: Section::::Biography.

paragraph: Born in Lyon in 1951, he went to India at age 18 in order to study Hindustani classical music. He learned Hindi and settled in Banaras (Varanasi), where he stayed for 14 years.

paragraph: In 1970, he was admitted as a sitar student at the Faculty of Performing Arts of Banaras Hindu University. Under the guidance of Dr K.C. Gangrade and Pt Lalmani Misra, he completed the following degrees :

paragraph: - Diploma 1973

paragraph: - Bachelor's Degree with Gold Medal in 1976

paragraph: - Master's Degree with Omkarnath Thakur Prize in 1978

paragraph: - Master's Degree in French language in 1979

paragraph: - Doctorate of Performance & Compositions in 1983

paragraph: The year of his doctorate, he wrote two books in English about ragas (cf Bibliography).

paragraph: From 1977 to 1983, he performed regularly at All India Radio.

paragraph: On Maurice Fleuret's initiative, he went back to France in 1983 and started teaching at the Conservatoire National Supérieur de Musique et de Danse de Paris the following year. Since then, he has been dedicated to promoting Indian musical culture.

paragraph: In 2000, he developed a website, Hindustani Raga Sangeet Online, devoted to Indian vocalists and instrumentalists through rare archives (cylinders, 78t, etc.).

paragraph: Section::::Honour.

paragraph: In 1983, Patrick Moutal was honored with the award of Chevalier dans l'Ordre des Arts et des Lettres by the Government of France.

paragraph: Section::::Bibliography.

paragraph: English :

paragraph: "Hindustani Gata-s Compilation. Instrumental themes in north Indian classical music" (2012) Patrick Moutal Publisher

paragraph: "Comparative Study of Selected Hindustani Ragas. Volume 1" (2012)

paragraph: "Hindustani Raga Index. Major bibliographical references (descriptions, compositions, vistara-s) on north Indian Raga-s" (2012)

paragraph: French :

paragraph: "Hindustani Raga Sangita. Mécanismes de base de la musique de l'Inde du Nord", 2e édition revue et augmentée (2012) Patrick Moutal Éditeur

paragraph: Articles :

paragraph: "Sur la musique indienne et son enseignement", "Musiques à prendre", CENAM, 1984

paragraph: "La musique indienne : être confronté à l'infini. Interview de Patrick MOUTAL par Jean-Louis MAINGALON", "Art Press" No.95, septembre 1985

paragraph: "La formation du musicien classique (créateur) de l'Inde. Quel enseignement musical pour demain?, 2-La formation du musicien professionnel", Actes et démarches. "Les documents de l'Institut de Pédagogie Musicale", IPM, Villette, juin 1986

paragraph: "L'interprétation dans la musique indienne", "Analyse Musicale" No.7, 2° trimestre 1987

paragraph: "Quand ça improvise dans un carcan indien", "Marsyas" No.11, La crampe, septembre 1989

paragraph: "L'écrit et la notation musicale : degré de représentativité", "Analyse Musicale", Notation et analyse, No.24, juin 1991

paragraph: "Musique indienne Porte de Pantin. Jean-Charles RICHARD", "Marsyas", Apprentissage et traditions, No.31, septembre 1994

paragraph: Section::::Filmography.

paragraph: Georges Luneau, "Fenêtre sur ...", 1979 (documentaire)

paragraph: Section::::External links.

paragraph: BULLET::::- Hindustani Raga Sangeet Online

description: musicologist

wikidata_label: Patrick Moutal

wikipedia_title: Patrick Moutal


text: Brandenburg

text: Otto "with the arrow"

text: Krossen

text: Neumark

text: House of Ascania

text: John I

text: Valdemar II of Denmark

text: Berengaria of Portugal

text: Treaty of Arnswalde

text: Mestwin II of Pomerelia

text: Siegesallee

text: Wilhelm II

text: Chorin Abbey

text: Cistercian

text: Lehnin Abbey

text: Otto IV "with the arrow"

text: Conrad I

text: Waldemar

text: House of Ascania

text: Schorfheide

text: Grimnitz Castle

text: Grimnitzsee

text: fortified house

text: John I

text: Henry I ""Lackland"

text: Prince Charles of Prussia

text: Otto III

text: Werle

text: Nicholas I of Werle

text: John

text: Havelberg

text: Henry II

text: Siegesallee

text: Lindow

text: Ruppin

text: Reinhold Felderhoff

text: Ballenstedt

text: Esico of Ballenstedt

text: House of Ascania

text: Kreuzberg

text: Spandau Citadel

text: relief

text: Mariendorf

text: Online at digibib.tu-bs.de

categories: Margraves of Brandenburg,House of Ascania,13th-century German people,1237 births

paragraph: John II, Margrave of Brandenburg-Stendal (1237 – 10 September 1281) was co-ruler of Brandenburg with his brother Otto "with the arrow" from 1266 until his death. He also used the title "Lord of Krossen", after a town in the Neumark.

paragraph: Section::::Life.

paragraph: Section::::Life.:Co-ruler.

paragraph: John II belonged to the Brandenburg line of the House of Ascania and was the eldest son of Margrave John I and his first wife, Sophie of Denmark (1217–1247), the daughter of King Valdemar II of Denmark and his second wife, Berengaria of Portugal. Since he was only co-ruler and appeared in the limelight less often than his brother, less is known about him than the other Ascanian Margraves of Brandenburg. On one occasion in 1269, he was consignatory of the Treaty of Arnswalde with Duke Mestwin II of Pomerelia. Nevertheless, he is one of only two of the co-rulers of this time (the other being Otto IV) to be given a statue on the Siegesallee in Berlin by Kaiser Wilhelm II.

paragraph: Section::::Life.:Chorin Abbey.

paragraph: Most of what is known about John II relates to Chorin Abbey. This was a Cistercian abbey that his father had founded in 1258 under the name "Mariensee", where he intended the Margraves of Brandenburg-Stendel would be buried, considering that Lehnin Abbey, where the earlier margraves had been buried, was located in the part of the Margraviate held by the Brandenburg-Salzwedel line.

paragraph: Section::::Life.:Chorin Abbey.:Ascanian castles on the Schorfheide hunting grounds.

paragraph: In 1273 the three brothers, Otto IV "with the arrow", John II and Conrad I (the father of Waldemar, the last great Margrave of Brandenburg from the House of Ascania) issued a joint declaration confirming the move of the "Mariensee" monastery to Chorin. Their three seals show the same picture of a standing armed Margrave with an eagle on his shield and the margraviate flag flying from his lance. They only differ in the inscription, which associates each seal with one of the brothers.

paragraph: The deed was issued on the castle at Werbellin, a village in the Schorfheide area to the west of the monastery. In the second half of the 13th century, the Schorfheide was the Ascanians' favourite hunting ground. Besides Werbellin, they had two other castles in this vast forest area. Otto IV's favourite castle was Grimnitz Castle on the western shore of Lake Grimnitzsee. John II preferred the fortified house at Breden on the south-eastern shore of Lake Werbellin and the castle in Werbellin at the southern end of the lake.

paragraph: All three castles had been established by John I and were probably destroyed during the 14th century. Ruins of Grminitz castle still exist. It was first mentioned in a deed sealed by John II, Otto IV, Conrad I and Henry I ""Lackland" in 1297. On the hill site of Werbellin castle, a (closed) observation tower now stands. This tower was inaugurated by Prince Charles of Prussia as a reminder of the Ascanians in 1879. Wolfganf Erdemann has suggested that this paten was donated after John II's death by his brothers Otto IV and Conrad I: "donated to Chorin to remember the Ascanians". The other half of the Eucharist set is a beautiful calyx (the "Ascanian chalice"), which was probably donated in 1266 or 1267 and depicts John I and Otto III and their wives.

paragraph: John II was buried as Chorin Abbey 1281 and his wife Hedwig in 1287. The abbey's construction had not been completed at that time.

paragraph: Section::::Life.:Marriage and issue.

paragraph: Between 1258 and 1262, he married Hedwig of Werle (1243–1287), the daughter of Nicholas I of Werle and Jutta of Anhalt. They had two sons:

paragraph: BULLET::::- Conrad II (1261–1308)

paragraph: BULLET::::- John (1263–1292), Bishop of Havelberg

paragraph: Section::::Statue on the Siegesallee.

paragraph: The inclusion of a statue of John II's nephew Henry II, who played an insignificant rôle in the history of Brandenburg, in the statue collection lining the Siegesallee, was controversial and in the end his statue was only accepted for reasons of symmetry: the design called for sixteen statue groups on both sides of the avenue. No such controversy appears to have existed around the inclusion of the equally insignificant co-ruler John II. As typical contemporaries and distinctive supporting characters, whose busts would complete John II's statue group, the historical commission led by Reinhold Koser selected Count Günther I of Lindow and Ruppin (d. 1284) and Konrad Belitz (d. 1308), a long-distance trader and councillor from Berlin.

paragraph: Sculpture group 6 was sculpted by Reinhold Felderhoff, who was given a free hand in the design of his statues. No contemporary picture of John II was available. The describes John II as small in stature, capable and strong. However, the overall design of the Siegesallee prescribed a uniform height of all statues. The design Felderhoff settled on, was rather unlike the historicizing art of the other statue groups on the Siegesallee. Instead, he opted for an almost modern large typifying shape. He refrained from individualizing his statue and instead created a quiet and serious warrior archetype. The warrior is looking to the ground and leans on a large shield bearing the arms of the House of Ballenstedt — Esico of Ballenstedt is considered the progenitor of the House of Ascania.

paragraph: Sculpture group 6 was ceremonially unveiled on 14 November 1900. Between 1978 and 2009, John II's statue was housed in the "Lapidarium" in Kreuzberg. Since 2009, it has been on display in the Spandau Citadel. A relief after the statue by Felderhoff was created in 1909 by an unknown artist. It can be found on the corner of Markgrafenstraße and Mariendorfer Damm in the Berlin district of Mariendorf

paragraph: Section::::References.

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

paragraph: BULLET::::- Heinrici de Antwerpe: "Can. Brandenburg., Tractatus de urbe Brandenburg", edited and expanded by Georg Sello, in: "22. Jahresbericht des Altmärkischen Vereins für vaterländische Geschichte und Industrie zu Salzwedel", issue 1, Magdeburg, 1888, pp. 3–35, Online version with transcriptions and translations by Tilo Köhn

paragraph: BULLET::::- "Chronica Marchionum Brandenburgensium", ed. G. Sello, "FBPrG I", 1888.

paragraph: Section::::References.:Bibliographies.

paragraph: BULLET::::- Schreckenbach, "Bibliogr. zur Gesch. der Mark Brandenburg", vol. 1–5, in the series "Veröffentlichungen des Staatsarchivs Potsdam",vol. 8 ff, Böhlau, Cologne, 1970–1986

paragraph: Section::::References.:Secondary references.

paragraph: BULLET::::- Tilo Köhn (publisher): "Brandenburg, Anhalt und Thüringen im Mittelalter. Askanier und Ludowinger beim Aufbau fürstlicher Territorialherrschaften. Helmut Assing. Zum 65. Geburtstag des Autors", Böhlau, Cologne, Weimar and Vienna, 1997,

paragraph: BULLET::::- Helmut Assing: "Die frühen Askanier und ihre Frauen", Kulturstiftung, Bernburg, 2002,

paragraph: BULLET::::- Emil Dominik: "Die Askanierburg Werbellin", in: Richard George (ed.): "Hie gut Brandenburg alleweg! Geschichts- und Kulturbilder aus der Vergangenheit der Mark und aus Alt-Berlin bis zum Tode des Großen Kurfürsten", Verlag von W. Pauli’s Nachfolgern, Berlin, 1900, Online at digibib.tu-bs.de

paragraph: BULLET::::- Wolfgang Erdmann: "Zisterzienser-Abtei Chorin. Geschichte, Architektur, Kult und Frömmigkeit, Fürsten-Anspruch und -Selbstdarstellung, klösterliches Wirtschaften sowie Wechselwirkungen zur mittelalterlichen Umwelt", with contributions by Gisela Gooß, Manfred Krause and Gunther Nisch. With extensive bibliography, in the series "Die blauen Bücher", Königstein im Taunus, 1994,

paragraph: BULLET::::- Uta Lehnert: "Der Kaiser und die Siegesallee. Réclame Royale", Dietrich Reimer Verlag, Berlin, 1998,

paragraph: BULLET::::- Stephan Warnatsch: "Geschichte des Klosters Lehnin 1180–1542", i the series "Studien zur Geschichte, Kunst und Kultur der Zisterzienser", vol. 12.1, Lukas Verlag, Berlin, 2000, (also: thesis, Free University, Berlin, 1999)

paragraph: BULLET::::- Stephan Warnatsch: "Geschichte des Klosters Lehnin 1180–1542", calendar investigations, vol. 12.2,

description: Co-ruler of Brandenburg


text:
Alchon Huns
India
Toramana
Huna
Hephthalite Empire
Sagala
Sialkot
Pakistan
Gupta Empire
Iranian
Mithra
Janos Harmatta
Shaivism
Xuanzang
Alexandria
Cosmas Indicopleustes
Hsüan-tsang
Buddhism
Kashmir
Gwalior inscription
regnal year
Aulikara
Yasodharman
Malwa
Narasimhagupta
Sondani
Dictionary of Buddhism
The History of the White Huns

categories: Converts to Hinduism,History of Kashmir,Year of birth missing,Place of birth missing,6th-century Indian monarchs,Hephthalites,Year of death missing

paragraph: Mihirakula

paragraph: Mihirakula, also Mahiragula, was one of the most important rulers of the Alchon Huns, who led a conquest and gained temporary control of Gandhara, Kashmir, northern and central India. Mihirakula was a son of Toramana, both of Huna heritage, and ruled the Indian part of the Hephthalite Empire. Mihirakula ruled his empire from 502 to 530, from his capital of Sagala (modern-day Sialkot, Pakistan).

paragraph: According to Buddhist texts, the Huna king Mihirakula was extremely cruel and barbaric. He destroyed Buddhist sites, ruined monasteries, killed monks. Yashodharman and Gupta Empire rulers, in and after about 532 CE, reversed Mihirakula's campaign and ended the Mihirakula era.

paragraph: Section::::Etymology.

paragraph: The name "Mihirakula" is most likely of Iranian origin and may have the meaning "Mithra's Begotten", as translated by Janos Harmatta.

paragraph: Section::::Description.

paragraph: According to Sagar, the Huna king Toramana was cruel and barbaric, his son Mihirakula even more so, during their rule. Mihirakula had conquered Sindh by 520 CE, had a large elephant and cavalry-driven army. Mihirakula destroyed Buddhist sites, ruined monasteries, according to Sagar. Yashodharman, about 532 CE, reversed Mihirakula's campaign and started the end of Mihirkula era. Mihirakula issued coins, like the Kushana era kings, showing Oesho or Shiva, which suggests that he may also have patronized Shaivism. Other scholars state that there are many legends surrounding this era and historical facts are difficult to ascertain. The Chinese pilgrim Xuanzang (Hsuan Tsang) mentions Mihirakula as conquering Kashmir first, then Gandhara. He is also mentioned as attempting to conquer central and eastern India, but getting vanquished by Yashodharman and the Gupta king Narasimhagupta Baladitya. Mihirakula was captured during the war, but his life spared because Baladitya's mother intervened and argued against capital punishment. He returned to Kashmir, states the Chinese pilgrim, with treachery seized power, attacked Gandhara, then died within a few months.

paragraph: Section::::Description.:Cosmas Indicopleustes.

paragraph: The 6th-century Alexandrian traveler Cosmas Indicopleustes states that the Hephthalites in India reached the zenith of its power under "Gollas", which states Ahmad Dani is same as Mihirakula from the last part of his name.

paragraph: Section::::Description.:Xuanzang.

paragraph: "The Record of the Western Regions" by the 7th-century Chinese traveler Hsüan-tsang states that Mihirakula destroyed Buddhism and killed monks in Gandhara. Xuanzang wrote in 630 CE that Mihirakula had conquered all India. The Narasimhagupta Baladitya defeated Mihirakula was finally captured by the Indian king, who later spared his life. Xuanzang states that while Mihirkula lost his conquest, his brother seized power in Kashmir and Gandhara. Mihirakula returned to Kashmir, with treachery seized the throne, attacked Gandhara but died within a year.

paragraph: Section::::Description.:Gwalior inscription.

paragraph: The Gwalior inscription issued in the 15th regnal year created by Matricheta in a Surya temple, mentions Mihirakula. It confirms that Mihirakula reign had included Gwalior around 535 CE.

paragraph: Section::::Description.:Sondani columns inscription.

paragraph: Mihirakula suffered a defeat by the Aulikara king Yasodharman of Malwa in 528, and the Gupta emperor Narasimhagupta who previously paid Mihirakula tribute. The defeat at the battle of Sondani, resulted in the loss of Alchon possessions in the Punjab and north India by 542.

paragraph: Section::::External links.

paragraph: BULLET::::- Dictionary of Buddhism

paragraph: BULLET::::- The History of the White Huns

description: last of the hun rulers in India, oppressor of Buddhism

wikidata_label: Mihirakula

wikipedia_title: Mihirakula


text:
Hamburg
Harburg District
Post-Impressionist
Kunstgewerbeschule
Arthur Siebelist
Alfred Lichtwark
Kunsthalle Hamburg
Die Brücke
Free Secession
Hamburgische Landesbank
Friedrich Ahlers-Hestermann
ArtNet: More works by Friedrichs.

categories: German male painters,Post-impressionist painters,20th-century German painters,1882 births,1928 deaths

paragraph: Fritz Friedrichs (painter)

paragraph: Fritz Friedrichs (17 May 1882, Hamburg - 28 July 1928, Hoopte, Harburg District) was a German Post-Impressionist painter.

paragraph: Section::::Biography.

paragraph: After completing his primary education in 1898, he enrolled at the Kunstgewerbeschule in Hamburg and, two years later, became a student of Arthur Siebelist. In 1903, together with Siebelist's other private students, he became a member of the .

paragraph: In 1904, he and his fellow students held a major exhibition at the , a highly respected gallery that had been established in 1821. Their showing was highly praised by Alfred Lichtwark, head of the Kunsthalle Hamburg.

paragraph: He took a study trip to the Netherlands in 1908 and, in 1909, exhibited with Die Brücke. The following year, he established his own private art school at his studio. In 1911, he began working as an art critic and married Gertrud Harlos, one of his models.

paragraph: At the beginning of World War I, he was drafted and sent to Poland. After spending some time in a military hospital, he was discharged and went back to exhibiting, notably with the Free Secession in 1919.

paragraph: He died in 1928, following a long illness. A major retrospective of his work, "Die Siebelistschüler Fritz Friedrichs und Walter Voltmer" was presented by the Hamburgische Landesbank in 1991.

paragraph: Section::::Sources.

paragraph: BULLET::::- Friedrich Ahlers-Hestermann: "Zwischen zwei Fronten – Fritz Friedrichs und unsere Generation", in: "Der Kreis", Vol.6, #5/6, 1929

paragraph: BULLET::::- Carsten Meyer-Tönnesmann: "Der Hamburgische Künstlerclub von 1897". Verlag Atelier im Bauernhaus, Fischerhude 1997.

paragraph: Section::::External links.

paragraph: BULLET::::- ArtNet: More works by Friedrichs.

description: German painter

wikidata_label: Fritz Friedrichs

wikipedia_title: Fritz Friedrichs (painter)


text:
Kärkölä
Royal Academy of Turku
Pehr Kalm
Pehr Adrian Gadd
docent
Uppsala University
Serafimerlasarettet
Stockholm
Turku
Costus

categories: 1745 births,Finnish expatriates in Sweden,1820 deaths,Finnish botanists

paragraph: Carl Niclas von Hellens

paragraph: Carl Niclas von Hellens (1 August 1745 – 26 January 1820) was a Finnish botanist.

paragraph: Section::::Life.

paragraph: He was born Carl Niclas Hellenius in Kärkölä and studied at the Royal Academy of Turku from 1764. He studied under Pehr Kalm and Pehr Adrian Gadd. He was named docent in chemistry, zoology and economics in 1773. He went to Uppsala University in 1774 to study medicine and received a doctoral degree in medicine there in 1776. Between 1777 and 1780 he worked as a medical doctor at Serafimerlasarettet, Sweden's first modern hospital, in Stockholm. He subsequently returned to Finland and Turku. He remained active at the academy in the city for the remainder of his life. He was responsible for the botanical garden and increased the number of plants in its collections from a couple of hundred to over two thousand species. He was ennobled in 1816 and took the name von Hellens.

paragraph: The botanical genus "Costus" was formerly known as "Hellenia" after Carl Niclas von Hellens. He died in Turku, aged 74.

description: botanist (1745-1820)

wikidata_label: Carl Niclas Hellenius

wikipedia_title: Carl Niclas von Hellens


text:
French
Neo-Platonist
philosopher
Thierry of Chartres
Breton
cathedral school of Chartres
Gilbert de la Porrée
William of Conches
John of Salisbury
Hauréau
Bernard Silvestris
standing on the shoulders of giants
John of Salisbury
Timaeus
dialectical treatises
Aristotle
Boethius
universals
metaphysics
cosmology
Platonism
matter

categories: Scholastic philosophers,1120s deaths,French philosophers,Year of birth unknown,French male writers,12th-century philosophers,12th-century French writers

paragraph: Bernard of Chartres

paragraph: Bernard of Chartres (; died after 1124) was a twelfth-century French Neo-Platonist philosopher, scholar, and administrator.

paragraph: Section::::Life.

paragraph: The date and place of his birth are unknown. He was believed to have been the elder brother of Thierry of Chartres and to be of Breton origin, but research has shown that this is unlikely. He is recorded at the cathedral school of Chartres by 1115 and was chancellor until 1124. There is no proof that he was still alive after 1124.

paragraph: Section::::Sources.

paragraph: Gilbert de la Porrée and William of Conches were students of his, and some information about his work comes through their writings, as well as the writings of John of Salisbury. According to John of Salisbury, Bernard composed a prose treatise "De expositione Porphyrii", a metrical treatise on the same subject, a moral poem on education, and probably a fourth work in which he sought to reconcile Plato with Aristotle. Fragments of these treatises are to be found in John's "Metalogicon" (IV, 35) and "Policraticus" (VII, 3). Hauréau confounds Bernard of Chartres with Bernard Silvestris, and assigns to the former works which are to be ascribed to the latter.

paragraph: The earliest attribution of the phrase "standing on the shoulders of giants" is to Bernard (by John of Salisbury):

paragraph: Section::::Doctrines.

paragraph: Bernard, in common with others of his school, devoted more attention to the study of the "Timaeus" and the works of the Neo-Platonists than to the study of the dialectical treatises of Aristotle and the commentaries of Boethius. Consequently, he not only discussed the problem of universals (distinguishing between the abstract, the process, and the concrete—exemplified, for instance, by the Latin words "albedo", "albet", and "album") but also occupied himself with problems of metaphysics and cosmology.

paragraph: Section::::Doctrines.:Metaphysics.

paragraph: According to Bernard, there are three categories of reality: God, matter, and idea. God is supreme reality. Matter was brought out of nothingness by God's creative act and is the element which, in union with Ideas, constitutes the world of sensible things. Ideas are the prototypes by means of which the world was from all eternity present to the Divine Mind; they constitute the world of Providence ("in qua omnia semel et simul fecit Deus"), and are eternal but not coeternal with God. According to John of Salisbury, Bernard also taught that there exist native forms—copies of the Ideas created with matter—which are alone united with matter. It is difficult, however, to determine what was Bernard's doctrine on this point. It is sufficient to note that he reproduced in his metaphysical doctrines many of the characteristic traits of Platonism and Neo-Platonism: the intellect as the habitat of Ideas, the world-soul, eternal matter, matter as the source of imperfection, etc.

paragraph: Section::::Doctrines.:Cosmology.

paragraph: Bernard argued that matter, although caused by God, existed from all eternity. In the beginning, before its union with the Ideas, it was in a chaotic condition. It was by means of the native forms, which penetrate matter, that distinction, order, regularity, and number were introduced into the universe.

paragraph: Section::::Glosses on Plato's "Timaeus".

paragraph: Paul Edward Dutton has shown that a set of anonymous glosses on Plato's "Timaeus" must be attributed to Bernard. These glosses edited by Dutton are Bernard's only extant work.

paragraph: Section::::Editions.

paragraph: BULLET::::- "The Glosae super Platonem of Bernard of Chartres", edited with an introduction by Paul Edward Dutton, Toronto 1991.

description: medieval philosopher and theologian

wikidata_label: Bernard of Chartres

wikipedia_title: Bernard of Chartres


text: Allmusic

text: bebop

text: Tommy Dorsey

text: Paul Whiteman

text: Louis Armstrong

text: New Orleans Jazz

text: Vernon, Texas

text: Charlie

text: Norma

text: baritone horn

text: bebop

text: Pee Wee Russell

text: New Orleans

text: blues

text: Peck Kelley

text: Ben Pollack

text: Beale Street Blues

text: Louis Armstrong

text: Johnny Mercer

text: Benny Goodman

text: Bix Beiderbecke

text: Red Nichols

text: Jimmy McPartland

text: Mezz Mezzrow

text: Glenn Miller

text: Eddie Condon

text: Spencer Williams

text: Basin Street Blues

text: Wingy Manone

text: Century of Progress

text: Great Depression

text: Paul Whiteman

text: Frank Trumbauer

text: Brunswick

text: big band

text: I Swung the Election

text: Earl Hines

text: Birth of the Blues

text: The Strip

text: The Glass Wall

text: Jazz on a Summer's Day

text: Newport Jazz Festival

text: RCA Victor

text: Columbia

text: Decca

text: Capitol

text: MGM Records

text: Esquire

text: Metronome

text: Playboy

text: DownBeat

text: David Rose

text: Allan Reuss

text: Benny Goodman

text: Eddie Condon

text: Jimmy McPartland

text: Louis Armstrong

text: V-Disc

text: A Hundred Years from Today

text: Arbors

text: Atlantic

text: Rhino

text: Decca

text: Capitol

text: Verve

text: Red Allen

text: Kid Ory

text: Roulette

text: Bethlehem

text: Mis'ry and the Blues

text: Verve

text: Think Well of Me

text: Jack Teagarden

text: Red River Valley Museum

text: Jack Teagarden discography (Music City)

text: Jack Teagarden website

categories: The Dorsey Brothers members,1905 births,Jazz musicians from Texas,People from Vernon, Texas,20th-century male musicians,Male trombonists,20th-century trombonists,RCA Victor artists,Big band bandleaders,1964 deaths,American jazz trombonists,The Charleston Chasers members,Swing trombonists,Burials at Forest Lawn Memorial Park (Glendale),Burials at Forest Lawn Memorial Park (Hollywood Hills),20th-century American musicians,Mainstream jazz trombonists,Dixieland trombonists,Male jazz musicians

paragraph: Jack Teagarden

paragraph: Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964) was a jazz trombonist and singer. According to critic Scott Yannow of Allmusic, Teagarden was the preeminent American jazz trombone player before the bebop era of the 1940s and "one of the best jazz singers too". Teagarden's early career was as a sideman with the likes of Tommy Dorsey, Paul Whiteman and lifelong friend Louis Armstrong before branching out as a bandleader in 1939 and specializing in New Orleans Jazz-style jazz until his death.

paragraph: Section::::Early life.

paragraph: Born in Vernon, Texas, his brothers Charlie and Clois "Cub" and his sister Norma also became professional musicians. His father was an amateur brass band trumpeter and started him on baritone horn; by age seven he had switched to trombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist.

paragraph: Section::::Music career.

paragraph: Teagarden's trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era – Pee Wee Russell once called him "the best trombone player in the world" – and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a "blue feeling" into virtually any piece of music.

paragraph: By 1920 Teagarden was playing professionally in San Antonio, including with the band of pianist Peck Kelley. In the mid-1920s he started traveling widely around the United States in a quick succession of different bands. In 1927, he went to New York City where he worked with several bands. By 1928 he played for the Ben Pollack band.

paragraph: Within a year of the commencement of his recording career, he became a regular vocalist, first doing blues material ("Beale Street Blues", for example), and later doing popular songs. He is often mentioned as one of the best jazz vocalists of the era; his singing style is like his trombone playing, in much the same way that Louis Armstrong sang like he played trumpet. Teagarden's singing is best remembered for duets with Armstrong and Johnny Mercer.

paragraph: In the late 1920s he recorded with such bandleaders and sidemen as Armstrong, Benny Goodman, Bix Beiderbecke, Red Nichols, Jimmy McPartland, Mezz Mezzrow, Glenn Miller, and Eddie Condon. Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams' "Basin Street Blues", which in that amended form became one of the numbers that Teagarden played until the end of his days.

paragraph: In the early 1930s Teagarden was based in Chicago, for some time playing with the band of Wingy Manone. He played at the Century of Progress exposition in Chicago.

paragraph: Teagarden sought financial security during the Great Depression and signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. The contract with Whiteman's band provided him with financial security but prevented him from playing an active part in the musical advances of the mid-thirties swing era (although Teagarden and Frank Trumbauer recorded a number of small group swing classics throughout his tenure with Whiteman on Brunswick).

paragraph: Teagarden then started leading his own big band. Glenn Miller wrote the song "I Swung the Election" for him and his band in 1939. In spite of Teagarden's best efforts, the band was not a commercial success, and he was brought to the brink of bankruptcy.

paragraph: In 1946 Teagarden joined Louis Armstrong's All Stars. In late 1951 Teagarden left to again lead his own band, then co-led a band with Earl Hines, then again with a group under his own name with whom he toured Japan in 1958 and 1959.

paragraph: Teagarden appeared in the movies "Birth of the Blues" (1941), "The Strip" (1951), "The Glass Wall" (1953), and "Jazz on a Summer's Day" (1960), the latter a documentary film of the 1958 Newport Jazz Festival. He recorded for RCA Victor, Columbia, Decca, Capitol, and MGM Records.

paragraph: Section::::Death.

paragraph: Early in 1964 Teagarden cut short a performance in New Orleans because of ill health. He briefly visited a hospital, then was found dead in his room at the Prince Conti Motel in New Orleans on January 15. The cause of death was bronchial pneumonia, which had followed a liver ailment. He was buried in Los Angeles.

paragraph: Section::::Awards and honors.

paragraph: As a jazz artist he won the 1944 "Esquire" magazine Gold Award, was highly rated in the Metronome polls of 1937-42 and 1945, and was selected for the "Playboy" magazine All Star Band, 1957-60. Teagarden was the featured performer at the Newport Jazz Festival of 1957.

paragraph: In 1969, Jack Teagarden was inducted into the "DownBeat" Jazz Hall of Fame. He was inducted into the Big Band and Jazz Hall of Fame in 1985. Other honors have included induction in the ASCAP Jazz Wall of Fame in 2005 and inclusion in the Houston Institute for Culture's Texas Music Hall of Fame.

paragraph: Section::::Compositions.

paragraph: Jack Teagarden's compositions include "I've Got 'It'" with David Rose, "Shake Your Hips", "Big T Jump", "Swingin' on the Teagarden Gate", "Blues After Hours", "A Jam Session at Victor", "It's So Good", "Pickin' For Patsy" with Allan Reuss, "Texas Tea Party" with Benny Goodman, "I'm Gonna Stomp Mr. Henry Lee" with Eddie Condon, "Big T Blues", "Dirty Dog", "Makin' Friends" with Jimmy McPartland, "That's a Serious Thing", and "'Jack-Armstrong' Blues" with Louis Armstrong, recorded on December 7, 1944, with the V-Disc All-Stars and released on V-Disc in March, 1945.

paragraph: Section::::Discography.

paragraph: Among his early recordings is "A Hundred Years from Today" (1933). Later recordings include:

paragraph: BULLET::::- 1950 "Jazz Original"

paragraph: BULLET::::- 1954 "The Club Hangover Broadcasts" with Jackie Coon (Arbors)

paragraph: BULLET::::- 1955 "Big Jazz" (Atlantic)

paragraph: BULLET::::- 1955 "Jazz Great" (Rhino)

paragraph: BULLET::::- 1956 "Big T's Jazz" (Decca)

paragraph: BULLET::::- 1956 "This Is Teagarden" (Capitol)

paragraph: BULLET::::- 1957 "Swing Low Sweet Spiritua"l (Capitol)

paragraph: BULLET::::- 1957 "Red Allen, Kid Ory & Jack Teagarden at Newport" (Verve) with Red Allen and Kid Ory

paragraph: BULLET::::- 1958 "Big T's Dixieland Band" (Capitol)

paragraph: BULLET::::- 1958 "Jack Teagarden in Concert" (Sounds)

paragraph: BULLET::::- 1958 "Jack Teagarden Sextet Featuring Don Ewell" (Pumpkin)

paragraph: BULLET::::- 1958 "Jazz Ultimate (Original Jazz Sound)" (Capitol)

paragraph: BULLET::::- 1959 "At the Roundtable" (Roulette)

paragraph: BULLET::::- 1959 "Dixieland" (Bethlehem)

paragraph: BULLET::::- 1959 "Shades of Night" (Capitol)

paragraph: BULLET::::- 1961 "Jazz Maverick!" (Roulette)

paragraph: BULLET::::- 1961 "Portrait of Mr. T" (Roulette)

paragraph: BULLET::::- 1961 "The Dixie Sound of Jack Teagarden" (Roulette)

paragraph: BULLET::::- 1961 "Mis'ry and the Blues" (Verve)

paragraph: BULLET::::- 1961 "Chicago and All That Jazz!" (Roulette)

paragraph: BULLET::::- 1962 "Think Well of Me" (Verve)

paragraph: BULLET::::- 1962 "Jack Teagarden" (Verve)

paragraph: Section::::See also.

paragraph: BULLET::::- Red River Valley Museum

paragraph: Section::::External links.

paragraph: BULLET::::- Jack Teagarden discography (Music City)

paragraph: BULLET::::- Jack Teagarden website

description: American jazz musician

wikidata_label: Jack Teagarden

wikipedia_title: Jack Teagarden