text: Lion comique

text: Victorian

text: music hall

text: Champagne Charlie

text: South West of England

text: North of England

text: Liverpool

text: Newcastle

text: Leeds

text: Leotard

text: Alhambra

text: Arthur Lloyd

text: Alfred Peck Stevens

text: swell

text: Canterbury Music Hall

text: If Ever I Cease to Love

text: Mardi Gras

text: New Orleans

text: Rex Krewe

text: Lydia Thompson

text: Offenbach

text: Grand Duke Alexei Romanov

text: Jenny Hill

text: London Pavilion

text: Alfred Vance

text: Champagne Charlie

text: Tommy Trinder

text: Stanley Holloway

text: Islington

text: Abney Park Cemetery

text: Albert Chevalier

text: Music Hall

text: Dan Leno

text: Grand Order of Water Rats

text: Wilton's Music Hall

text: Champagne Charlie

categories: 1842 births,English songwriters,Music hall performers,1884 deaths,English male singers,19th-century English singers,Burials at Abney Park Cemetery

paragraph: George Leybourne

paragraph: George Leybourne (17 March 1842 – 15 September 1884) was a "Lion comique" of the British Victorian music hall who, for much of his career, was known by the title of one of his songs, "Champagne Charlie".

paragraph: Another of his songs, and one that can still be heard today, is "The Flying Trapeze", or "The Daring Young Man on the Flying Trapeze". His 1867 hit "Champagne Charlie" led to the first major success of the music hall concept in Britain and even today he is still thought of as one of the most well known music hall performers.

paragraph: Section::::Early life.

paragraph: George Leybourne was born Joseph Saunders at Stourbridge, however at an early age he and his family moved to live in London. Before he went on the music halls he worked as an engineer in, amongst other places, the South West of England. For his early music hall appearances in the North of England, including Liverpool and Newcastle he used the stage-name "Joe Saunders" a fact which, in the past, has caused much confusion as to his real name. His first documented appearance in London using his real name of George Leybourne was at the Bedford Music Hall in 1863, but it is known that he had appeared in some of the smaller East-End venues in the months before this.

paragraph: Section::::Career.

paragraph: In 1866 with composer Alfred Lee, he wrote "Champagne Charlie", premiering it in Leeds in the August of that year. It took several months before it became the hit song which would be forever linked to George Leybourne's name, a song which eventually became something of a mill-stone around his neck. Another of Leybourne's major song successes, also dating from 1866, was "The Flying Trapeze", music by Alfred Lee. The song celebrated the fascination with the many trapeze artistes then performing in the UK, including Leotard and his sensational appearances at the Alhambra Music Hall in London. In 1867 it was published in the USA by C. H. Ditson & Co, with music attributed to Gaston Lyle.

paragraph: In the 1860s, Leybourne, along with several contemporaries inclouding Arthur Lloyd and Alfred Peck Stevens developed a new type of music hall artiste, the "Lion Comique"; a "swell" or attractive, fashionable, young man. In this style, performers relied less on copying burlesque, and instead sought inspiration in their everyday experiences and the colourful characters of daily street life. Audiences loved to join in the chorus and "give the bird." In some of his songs he appeared immaculately dressed in white tie and tails, when he would declare his love for the high life, women, and champagne. However, he also earned a reputation for his many character songs, which were detailed studies of all classes of people, from low life to high life.

paragraph: In 1868, when William Holland became manager of the Canterbury Music Hall, he employed Leybourne on an exclusive contract of £25 a week, providing him with a carriage drawn by four white horses. Over the next year by appearing, with Holland's permission, at several other halls at the same time, his salary rose to £120 per week.

paragraph: Leybourne also wrote the lyrics to the 1871 song "If Ever I Cease to Love", some of the lyrics of which caused a scandal. Today it is remembered for its association with Mardi Gras in New Orleans; it became the signature song for the Rex Krewe.

paragraph: The song was sung by Lydia Thompson, in the burlesque adaptation of Offenbach's operetta "Bluebeard", with which she was touring the United States. When he visited New Orleans in 1872, Russian Grand Duke Alexei Romanov saw "Bluebeard" and was fascinated by both the singer and the song. The king of Carnival directed that all bands in the Rex parade would play "the Royal Anthem", "If Ever I Cease To Love". It is still to be heard at the New Orleans Carnival.

paragraph: When Jenny Hill performed at the London Pavilion, she stopped the show and forced Leybourne to wait for her act to finish. Such was his generosity that he carried her back on to the stage for an encore.

paragraph: Leybourne and Alfred Vance, also known as "The Great Vance", have always been seen as rivals, an opinion amplified by the 1944 film "Champagne Charlie". But latest research shows that whereas during the same period they both sang songs extolling the virtues of various alcoholic drinks, their careers took slightly different paths. Leybourne concentrated on his music hall appearances, while Vance entertained middle-class audiences with 'safe' concert party shows; it was in their advertisements that the rivalry came to the fore. In the film "Champagne Charlie" Leybourne was played by comedian Tommy Trinder, while Alfred Vance was played by Stanley Holloway.

paragraph: Section::::Death and legacy.

paragraph: During a career spanning 23 years Leybourne sang over 200 songs; however, towards the end of his career he failed to adapt to the changing times and his popularity declined. A victim of success and fast living, George Leybourne died penniless in Islington aged 42.

paragraph: He is buried at Abney Park Cemetery in Stoke Newington, London with his actress daughter Florence Leybourne, her husband, the music hall star Albert Chevalier and grandson Frederick. His headstone, with the epitaph, "God's finger touched him and he slept" was erected by fellow Music Hall legend Dan Leno, and the Grand Order of Water Rats. George Leybourne's grave is cared for by The Music Hall Guild of Great Britain and America.

paragraph: Leybourne appeared at Wilton's Music Hall in London's East End, the world's oldest surviving grand music hall, and an adjoining modern residential apartment block has been named after him: George Leybourne House.

paragraph: Section::::See also.

paragraph: BULLET::::- "Champagne Charlie"—film based on Leybourne's life

paragraph: Section::::External links.

paragraph: BULLET::::- Derek B Scott sings “Champagne Charlie” (1867)

paragraph: BULLET::::- Biography of George Leybourne by Christopher Beeching, published DCG Publications 2011

paragraph: BULLET::::- Victoria and Albert Museum; "George Leybourne"; London; 2016

paragraph: BULLET::::- London Remembers: "Plaque: George Leybourne"

paragraph: BULLET::::- IMDb: "George Leybourne" film soundtrack music.

description: British singer and comedian

wikidata_label: George Leybourne

wikipedia_title: George Leybourne


text: de jure

text: Serbian

text: de facto

text: Macedonia

text: Prilep

text: South Slavic

text: oral tradition

text: Ottoman

text: Balkans

text: Vukašin

text: Tsar

text: Stefan Uroš V

text: Serbian Empire

text: Kosovo

text: Battle of Maritsa

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text: Marko's Monastery

text: Wallachia

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text: Vukašin Mrnjavčević

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text: Serbian Emperor

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text: Nemanjić dynasty

text: Croatian

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text: Dalmatia

text: Tvrtko I

text: ban

text: Jelena

text: George II Šubić

text: Dragutin Nemanjić

text: Pope Urban V

text: Catholic

text: schismatic

text: Louis I of Hungary

text: Radoslav Hlapen

text: Veria

text: Edessa

text: Nikola Altomanović

text: Đurađ I Balšić

text: Zeta

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text: Onogošt

text: Ottomans

text: Despot

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text: Old Testament

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text: Battle of Rovine

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text: Dečani Chronicle

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text: Relja Krilatica

text: Vuk the Fiery Dragon

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text: Slavicist

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text: voivode

text: Pirlitor

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text: Old Herzegovina

text: sabre

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text: Battle of Peritheorion

text: vila

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text: pernach

text: oka

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text: Musa Kesedžija

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text: Janissaries

text: hydromancy

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text: Republic of Macedonia

text: Bulgarian

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text: Momchil

text: Rhodope Mountains

text: narecnitsi

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text: Trayko Kitanchev

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text: Demir Kapija

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text: Tikveš

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text: boulder

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text: lives on in a cave

text: Elijah

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text: Buda

text: Celesztin Pergő

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text: tragedy

text: motif

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text: southern Slav

text: Francesco Dall'Ongaro

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text: Mirko Rački

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text: Vasa Pomorišac

text: Bane Kerac

text: Motifs

text: Serbian nobility conflict (1369)

text: Djemo the Mountaineer

text: General Vuča

text: Aleksey Khludov

text: State Historical Museum

text: despot

text: Jovan Uglješa

text: Bogišić, Valtazar

text: Народне пјесме: из старијих, највише приморских записа [Folk poems: from older records, mostly from the Littoral]

text: Internet Archive

text: Ćorović, Vladimir

text: Историја српског народа [History of the Serbian People]

text: Project Rastko

text: Кратка историја српске књижевности [Short history of Serbian literature]

text: Котроманићи

text: Jireček, Konstantin Josef

text: Geschichte der Serben [History of the Serbs]

text: Karadžić, Vuk Stefanović

text: Српске народне пјесме [Serbian folk poems]

text: Konstantin the Philosopher

text: Житије деспота Стефана Лазаревића [Biography of Despot Stefan Lazarević]

text: The Ballads of Marko Kraljević

text: Mihaljčić, Rade

text: Miklosich, Franz

text: Monumenta serbica spectantia historiam Serbiae Bosnae Ragusii

text: Stari rukopisi i štampane knjige u Čajniču

text: Bacon, Leonard

text: Heroic Ballads of Servia

text: Internet Sacred Text Archive

text: Stojanović, Ljubomir

text: Serbian Royal Academy

text: Theiner, Augustin

text: Vetera monumenta historica Hungariam sacram illustrantia

text: The Ballads of Marko Kraljević

text: Heroic Ballads of Servia

text: Macedonian songs

text: fairy tales

text: legends

text: Bulgarian ballads

text: here

text: legends

text: Marko, The King's Son: Hero of The Serbs

text: Clarence A. Manning

text: Poem, "Marko Kraljević and the Vila"

text: Conclusion of "Prince Marko and Musa Kesedžija"

text: Web comic strip

text: Prince Marko Recognises His Father's Sword

text: Prince Marko Abolishes the Marriage Tax

text: Prince Marko and the Eagle

categories: Ottoman Serbia,Slavic mythology,Pelagonia,Characters in Serbian epic poetry,14th-century Serbian nobility,Serbian vassals of the Ottoman Empire,Pretenders to the Serbian throne in the Middle Ages,Mrnjavčević family,14th-century Serbian royalty,1395 deaths,Serbian princes,Rulers in medieval Macedonia,1330s births,Bulgarian folklore,Serbian military personnel killed in action

paragraph: Prince Marko

paragraph: Marko Mrnjavčević (, ;  – 17 May 1395) was the "de jure" Serbian king from 1371 to 1395, while he was the "de facto" ruler of territory in western Macedonia centered on the town of Prilep. He is known as Prince Marko (, "Kraljević Marko", ) and King Marko (; ; ) in South Slavic oral tradition, in which he has become a major character during the period of Ottoman rule over the Balkans. Marko's father, King Vukašin, was co-ruler with Serbian Tsar Stefan Uroš V, whose reign was characterised by weakening central authority and the gradual disintegration of the Serbian Empire. Vukašin's holdings included lands in western Macedonia and Kosovo. In 1370 or 1371, he crowned Marko "young king"; this title included the possibility that Marko would succeed the childless Uroš on the Serbian throne.

paragraph: On 26 September 1371, Vukašin was killed and his forces defeated in the Battle of Maritsa. About two months later, Tsar Uroš died. This formally made Marko the king of the Serbian land; however, Serbian noblemen, who had become effectively independent from the central authority, did not even consider to recognise him as their supreme ruler. Sometime after 1371, he became an Ottoman vassal; by 1377, significant portions of the territory he inherited from Vukašin were seized by other noblemen. King Marko, in reality, came to be a regional lord who ruled over a relatively small territory in western Macedonia. He funded the construction of the Monastery of Saint Demetrius near Skopje (better known as Marko's Monastery), which was completed in 1376. Marko died on 17 May 1395, fighting for the Ottomans against the Wallachians in the Battle of Rovine.

paragraph: Although a ruler of modest historical significance, Marko became a major character in South Slavic oral tradition. He is venerated as a national hero by the Serbs, Macedonians and Bulgarians, remembered in Balkan folklore as a fearless and powerful protector of the weak, who fought against injustice and confronted the Turks during the Ottoman occupation.

paragraph: Section::::Life.

paragraph: Section::::Life.:Until 1371.

paragraph: Marko was born about 1335 as the first son of Vukašin Mrnjavčević and his wife Alena. The patronymic "Mrnjavčević" derives from Mrnjava, described by 17th-century Ragusan historian Mavro Orbin as a minor nobleman from Zachlumia (in present-day Herzegovina and southern Dalmatia). According to Orbin, Mrnjava's sons were born in Livno in western Bosnia, where he may have moved after Zachlumia was annexed from Serbia by Bosnia in 1326. The Mrnjavčević family may have later supported Serbian Emperor (tsar) Stefan Dušan in his preparations to invade Bosnia as did other Zachlumian nobles, and, fearing punishment, emigrated to the Serbian Empire before the war started. These preparations possibly began two years ahead of the invasion, which took place in 1350. From that year comes the earliest written reference to Marko's father Vukašin, describing him as Dušan's appointed "župan" (district governor) of Prilep, which was acquired by Serbia from Byzantium in 1334 with other parts of Macedonia. In 1355, at about age 47, Stefan Dušan died suddenly of a stroke.

paragraph: Dušan was succeeded by his 19-year-old son Uroš, who apparently regarded Marko Mrnjavčević as a man of trust. The new Emperor appointed him the head of the embassy he sent to Ragusa (now Dubrovnik, Croatia) at the end of July 1361 to negotiate peace between the empire and the Ragusan Republic after hostilities earlier that year. Although peace was not reached, Marko successfully negotiated the release of Serbian merchants from Prizren who were detained by the Ragusans and was permitted to withdraw silver deposited in the city by his family. The account of that embassy in a Ragusan document contains the earliest-known, undisputed reference to Marko Mrnjavčević. An inscription written in 1356 on a wall of a church in the Macedonian region of Tikveš, mentions a Nikola and a Marko as governors in that region, but the identity of this Marko is disputed.

paragraph: Dušan's death was followed by the stirring of separatist activity in the Serbian Empire. The south-western territories, including Epirus, Thessaly, and lands in southern Albania, seceded by 1357. However, the core of the state (the western lands, including Zeta and Travunia with the upper Drina Valley; the central Serbian lands; and Macedonia), remained loyal to Emperor Uroš. Nevertheless, local noblemen asserted more and more independence from Uroš' authority even in the part of the state that remained Serbian. Uroš was weak and unable to counteract these separatist tendencies, becoming an inferior power in his own domain. Serbian lords also fought each other for territory and influence.

paragraph: Vukašin Mrnjavčević was a skilful politician, and gradually assumed the main role in the empire. In August or September 1365 Uroš crowned him king, making him his co-ruler. By 1370 Marko's potential patrimony increased as Vukašin expanded his personal holdings from Prilep further into Macedonia, Kosovo and Metohija, acquiring Prizren, Pristina, Novo Brdo, Skopje and Ohrid. In a charter he issued on 5 April 1370 Vukašin mentioned his wife (Queen Alena) and sons (Marko and Andrijaš), signing himself as "Lord of the Serb and Greek Lands, and of the Western Provinces" (). In late 1370 or early 1371 Vukašin crowned Marko "Young King", a title given to heirs presumptive of Serbian kings to secure their position as successors to the throne. Since Uroš was childless Marko could thus become his successor, beginning a new—Vukašin's—dynasty of Serbian sovereigns, and ending the two-century Nemanjić dynasty. Most Serbian lords were unhappy with the situation, which strengthened their desire for independence from the central authority.

paragraph: Vukašin sought a well-connected spouse for Marko. A princess from the Croatian House of Šubić of Dalmatia was sent by her father, Grgur, to the court of their relative Tvrtko I, the ban of Bosnia. She was supposed to be raised and married by Tvrtko's mother Jelena. Jelena was the daughter of George II Šubić, whose maternal grandfather was Serbian King Dragutin Nemanjić. The ban and his mother approved of Vukašin's idea to join the Šubić princess and Marko, and the wedding was imminent. However, in April 1370 Pope Urban V sent Tvrtko a letter forbidding him to give the Catholic lady in marriage to the "son of His Magnificence, the King of Serbia, a schismatic" ("filio magnifici viri Regis Rascie scismatico"). The pope also notified King Louis I of Hungary, nominal overlord of the ban, of the impending "offence to the Christian faith", and the marriage did not occur. Marko subsequently married Jelena (daughter of Radoslav Hlapen, the lord of Veria and Edessa and the major Serbian nobleman in southern Macedonia).

paragraph: During the spring of 1371, Marko participated in the preparations for a campaign against Nikola Altomanović, the major lord in the west of the Empire. The campaign was planned jointly by King Vukašin and Đurađ I Balšić, lord of Zeta (who was married to Olivera, the king's daughter). In July of that year Vukašin and Marko camped with their army outside Scutari, on Balšić's territory, ready to make an incursion towards Onogošt in Altomanović's land. The attack never took place, since the Ottomans threatened the land of Despot Jovan Uglješa (lord of Serres and Vukašin's younger brother, who ruled in eastern Macedonia) and the Mrnjavčević forces were quickly directed eastward. Having sought allies in vain, the two brothers and their troops entered Ottoman-controlled territory. At the Battle of Maritsa on 26 September 1371, the Turks annihilated the Serbian army; the bodies of Vukašin and Jovan Uglješa were never found. The battle site, near the village of Ormenio in present-day eastern Greece, has ever since been called as "Sırp Sındığı" ("Serbian rout") in Turkish. The Battle of Maritsa had far-reaching consequences for the region, since it opened the Balkans to the Turks.

paragraph: Section::::Life.:After 1371.

paragraph: When his father died, "young king" Marko became king and co-ruler with Emperor Uroš. The Nemanjić dynasty ended soon afterwards, when Uroš died on 2 (or 4) December 1371 and Marko became the formal sovereign of Serbia. Serbian lords, however, did not recognise him, and divisions within the state increased. After the two brothers' deaths and the destruction of their armies, the Mrnjavčević family was left powerless. Lords around Marko exploited the opportunity to seize significant parts of his patrimony. By 1372 Đurađ I Balšić took Prizren and Peć, and Prince Lazar Hrebeljanović took Pristina. By 1377 Vuk Branković acquired Skopje, and Albanian magnate Andrea Gropa became virtually independent in Ohrid; however, he may have remained a vassal to Marko as he had been to Vukašin. Gropa's son-in-law was Marko's relative, Ostoja Rajaković of the clan of Ugarčić from Travunia. He was one of Serbian noblemen from Zachlumia and Travunia (adjacent principalities in present-day Herzegovina) who received lands in the newly conquered parts of Macedonia during Emperor Dušan's reign.

paragraph: The only sizable town kept by Marko was Prilep, from which his father rose. King Marko became a petty prince ruling a relatively small territory in western Macedonia, bordered in the north by the Šar mountains and Skopje; in the east by the Vardar and the Crna Reka rivers, and in the west by Ohrid. The southern limits of his territory are uncertain. Marko shared his rule with his younger brother, Andrijaš, who had his own land. Their mother, Queen Alena, became a nun after Vukašin's death, taking the monastic name Jelisaveta, but was co-ruler with Andrijaš for some time after 1371. The youngest brother, Dmitar, lived on land controlled by Andrijaš. There was another brother, Ivaniš, about whom little is known. When Marko became an Ottoman vassal is uncertain, but it was probably not immediately after the Battle of Maritsa.

paragraph: At some point Marko separated from Jelena and lived with Todora, the wife of a man named Grgur, and Jelena returned to her father in Veria. Marko later sought to reconcile with Jelena but he had to send Todora to his father-in-law. Since Marko's land was bordered on the south by Hlapen's, the reconciliation may have been political. Scribe Dobre, a subject of Marko's, transcribed a liturgical book for the church in the village of Kaluđerec, and when he finished, he composed an inscription which begins as follows:

paragraph: Marko's fortress was on a hill north of present-day Prilep; its partially preserved remains are known as "Markovi Kuli" ("Marko's towers"). Beneath the fortress is the village of Varoš, site of the medieval Prilep. The village contains the Monastery of Archangel Michael, renovated by Marko and Vukašin, whose portraits are on the walls of the monastery's church. Marko was ktetor of the Church of Saint Sunday in Prizren, which was finished in 1371, shortly before the Battle of Maritsa. In the inscription above the church's entrance, he is called "young king".

paragraph: The Monastery of St. Demetrius, popularly known as Marko's Monastery, is in the village of Markova Sušica (near Skopje) and was built from c. 1345 to 1376 (or 1377). Kings Marko and Vukašin, its "ktetors", are depicted over the south entrance of the monastery church. Marko is an austere-looking man in purple clothes, wearing a crown decorated with pearls. With his left hand he holds a scroll, whose text begins: "I, in the Christ God the pious King Marko, built and inscribed this divine temple ..." In his right hand, he holds a horn symbolizing the horn of oil with which the Old Testament kings were anointed at their coronation (as described in 1 Samuel ). Marko is said to be shown here as the king chosen by God to lead his people through the crisis following the Battle of Maritsa.

paragraph: Marko minted his own money, in common with his father and other Serbian nobles of the time. His silver coins weighed 1.11 grams, and were produced in three types. In two of them, the obverse contained a five-line text: ("In the Christ God, the pious King Marko"). In the first type, the reverse depicted Christ seated on a throne; in the second, Christ was seated on a mandorla. In the third type, the reverse depicted Christ on a mandorla; the obverse contained the four-line text ("Pious King Marko"), which Marko also used in the church inscription. He omitted a territorial designation from his title, probably in tacit acknowledgement of his limited power. Although his brother Andrijaš also minted his own coins, the money supply in the territory ruled by the Mrnjavčević brothers primarily consisted of coins struck by King Vukašin and Tsar Uroš. About 150 of Marko's coins survive in numismatic collections.

paragraph: By 1379, Prince Lazar Hrebeljanović, the ruler of Moravian Serbia, emerged as the most-powerful Serbian nobleman. Although he called himself Autokrator of all the Serbs (), he was not strong enough to unite all Serbian lands under his authority. The Balšić and Mrnjavčević families, Konstantin Dragaš (maternally a Nemanjić), Vuk Branković and Radoslav Hlapen continued ruling their respective regions. In addition to Marko, Tvrtko I was crowned King of the Serbs and of Bosnia in 1377 in the Mileševa monastery. Maternally related to the Nemanjić dynasty, Tvrtko had seized western portions of the former Serbian Empire in 1373.

paragraph: On 15 June 1389 Serbian forces led by Prince Lazar, Vuk Branković, and Tvrtko's nobleman Vlatko Vuković of Zachlumia, confronted the Ottoman army led by Sultan Murad I at the Battle of Kosovo, the best-known battle in medieval Serbian history. With the bulk of both armies wiped out and Lazar and Murad killed, the outcome of the battle was inconclusive. In its aftermath the Serbs had insufficient manpower to defend their lands, while the Ottomans had many more troops in the east. Serbian principalities which were not already Ottoman vassals became such over the next few years.

paragraph: In 1394, a group of Ottoman vassals in the Balkans renounced their vassalage. Although Marko was not among them, his younger brothers Andrijaš and Dmitar refused to remain under Ottoman dominance. They emigrated to the Kingdom of Hungary, entering the service of King Sigismund. They travelled via Ragusa, where they withdrew two-thirds of their late father's store of of silver, leaving the remaining third for Marko. Although Andrijaš and Dmitar were the first Serbian nobles to emigrate to Hungary, the Serbian northward migration would continue throughout the Ottoman occupation.

paragraph: In 1395 the Ottomans attacked Wallachia to punish its ruler, Mircea I, for his incursions into their territory. Three Serbian vassals fought on the Ottoman side: King Marko, Lord Konstantin Dragaš, and Despot Stefan Lazarević (son and heir of Prince Lazar). The Battle of Rovine, on 17 May 1395, was won by the Wallachians; Marko and Dragaš were killed. After their deaths the Ottomans annexed their lands, combining them into an Ottoman province centred in Kyustendil. Thirty-six years after the Battle of Rovine, Konstantin the Philosopher wrote the "Biography of Despot Stefan Lazarević" and recorded what Marko said to Dragaš on the eve of the battle: "I pray the Lord to help the Christians, no matter if I will be the first to die in this war." The chronicle goes on to state that Marko and Dragaš were killed in the battle. Another medieval source that mentions Marko's death at the Battle of Rovine is the Dečani Chronicle.

paragraph: Section::::In folk poetry.

paragraph: Section::::In folk poetry.:Serbian epic poetry.

paragraph: Marko Mrnjavčević is the most popular hero of Serbian epic poetry, in which he is called "Kraljević Marko" (with the word "kraljević" meaning "prince" or "king's son"). This informal title was attached to King Vukašin's sons in contemporary sources as a surname (Marko Kraljević), and it was adopted by the Serbian oral tradition as part of Marko's name.

paragraph: Poems about Kraljević Marko do not follow a storyline; what binds them into a poetic cycle is the hero himself, with his adventures illuminating his character and personality. The epic Marko had a 300-year lifespan; 14th- to 16th-century heroes appearing as his companions include Miloš Obilić, Relja Krilatica, Vuk the Fiery Dragon and Sibinjanin Janko and his nephew, Banović Sekula. Very few historical facts about Marko can be found in the poems, but they reflect his connection with the disintegration of the Serbian Empire and his vassalage to the Ottomans. They were composed by anonymous Serbian poets during the Ottoman occupation of their land. According to American Slavicist George Rapall Noyes, they "combine tragic pathos with almost ribald comedy in a fashion worthy of an Elizabethan playwright."

paragraph: Serbian epic poetry agrees that King Vukašin was Marko's father. His mother in the poems was Jevrosima, sister of voivode Momčilo, the lord of the Pirlitor Fortress (on Mount Durmitor in Old Herzegovina). Momčilo is described as a man of immense size and strength with magical attributes: a winged horse and a sabre with eyes. Vukašin murdered him with the help of the voivode's young wife, Vidosava, despite Jevrosima's self-sacrificing attempt to save her brother. Instead of marrying Vidosava (the original plan), Vukašin killed the treacherous woman. He took Jevrosima from Pirlitor to his capital city, Skadar, and married her according to the advice of the dying Momčilo. She bore him two sons, Marko and Andrijaš, and the poem recounting these events says that Marko took after his uncle Momčilo. This epic character corresponds historically with Bulgarian brigand and mercenary Momchil, who was in the service of Serbian Tsar Dušan; he later became a despot and died in the 1345 Battle of Peritheorion. According to another account, Marko and Andrijaš were mothered by a "vila" (Slavic mountain nymph) married by Vukašin after he caught her near a lake and removed her wings so she could not escape.

paragraph: As Marko matured, he became headstrong; Vukašin once said that he had no control over his son, who went wherever he wanted, drank and brawled. Marko grew up into a large, strong man, with a terrifying appearance, which was also somewhat comical. He wore a wolf-skin cap pulled low over his dark eyes, his black moustache was the size of a six-month-old lamb and his cloak was a shaggy wolf-pelt. A Damascus sabre swung at his waist, and a spear was slung across his back. Marko's pernach weighed 66 okas () and hung on the left side of his saddle, balanced by a well-filled wineskin on the saddle's right side. His grip was strong enough to squeeze drops of water from a piece of dry cornel wood. Marko defeated a succession of champions against overwhelming odds.

paragraph: The hero's inseparable companion was his powerful, talking piebald horse Šarac; Marko always gave him an equal share of his wine. The horse could leap three spear-lengths high and four spear-lengths forward, enabling Marko to capture the dangerous, elusive "vila" Ravijojla. She became his blood sister, promising to help him in dire straits. When Ravijojla helped him kill the monstrous, three-hearted Musa Kesedžija (who almost defeated him), Marko grieved because he had slain a better man than himself.

paragraph: Marko is portrayed as a protector of the weak and helpless, a fighter against Turkish bullies and injustice in general. He was an idealised keeper of patriarchal and natural norms: in a Turkish military camp, he beheaded the Turk who dishonourably killed his father. He abolished the marriage tax by killing the tyrant who imposed it on the people of Kosovo. He saved the sultan's daughter from an unwanted marriage after she entreated him, as her blood brother, to help her. He rescued three Serbian voivodes (his blood brothers) from a dungeon and helped animals in distress. Marko was a rescuer and benefactor of people, and a promoter of life; "Prince Marko is remembered like a fair day in the year".

paragraph: Characteristic of Marko was his reverence and love for his mother, Jevrosima; he often sought her advice, following it even when it contradicted his own desires. She lived with Marko at his mansion in Prilep, his lodestar guiding him away from evil and toward good on the path of moral improvement and Christian virtues. Marko's honesty and moral courage are noteworthy in a poem in which he was the only person who knew the will of the late Tsar Dušan regarding his heir. Marko refused to lie in favour of the pretenders—his father and uncles. He said truthfully that Dušan appointed his son, Uroš, heir to the Serbian throne. This almost cost him his life, since Vukašin tried to kill him.

paragraph: Marko is represented as a loyal vassal of the Ottoman sultan, fighting to protect the potentate and his empire from outlaws. When summoned by the sultan, he participated in Turkish military campaigns. Even in this relationship, however, Marko's personality and sense of dignity were apparent. He occasionally made the sultan uneasy, and meetings between them usually ended like this:

paragraph: Marko's fealty was combined with the notion that the servant was greater than his lord, as Serbian poets turned the tables on their conquerors. This dual aspect of Marko may explain his heroic status; for the Serbs he was "the proud symbol expressive of the unbroken spirit that lived on in spite of disaster and defeat," according to translator of Serbian epic poems David Halyburton Low.

paragraph: In battle, Marko used not only his strength and prowess but cunning and trickery. Despite his extraordinary qualities he was not depicted as a superhero or a god, but as a mortal man. There were opponents who surpassed him in courage and strength. He was occasionally capricious, short-tempered or cruel, but his predominant traits were honesty, loyalty and fundamental goodness.

paragraph: With his comic appearance and behaviour, and his remarks at his opponents' expense, Marko is the most humorous character in Serbian epic poetry. When a Moor struck him with a mace, Marko said laughingly, "O valiant black Moor! Are you jesting or smiting in earnest?" Jevrosima once advised her son to cease his bloody adventures and plough the fields instead. He obeyed in a grimly humorous way, ploughing the sultan's highway instead of the fields. A group of Turkish Janissaries with three packs of gold shouted at him to stop ploughing the highway. He warned them to keep off the furrows, but quickly wearied of arguing:

paragraph: Marko, age 300, rode the 160-year-old Šarac by the seashore towards Mount Urvina when a "vila" told him that he was going to die. Marko then leaned over a well and saw no reflection of his face on the water; hydromancy confirmed the "vila"s words. He killed Šarac so the Turks would not use him for menial labor, and gave his beloved companion an elaborate burial. Marko broke his sword and spear, throwing his mace far out to sea before lying down to die. His body was found seven days later by Abbot Vaso and his deacon, Isaija. Vaso took Marko to Mount Athos and buried him at the Hilandar Monastery in an unmarked grave.

paragraph: Section::::In folk poetry.:Epic poetry of Bulgaria and Macedonia.

paragraph: "Krali Marko" has been one of the most popular characters in Bulgarian folklore for centuries. Bulgarian epic tales in general (and those about Marko in particular) seem to originate from the southwestern part of the Bulgarian region, primarily in the present-day Republic of Macedonia. Therefore, the tales are also part of the ethnic heritage of present-day Macedonia.

paragraph: According to local legend Marko's mother was Evrosiya (Евросия), sister of the Bulgarian voivoda Momchil (who ruled territory in the Rhodope Mountains). At Marko's birth three "narecnitsi" (fairy sorceresses) appeared, predicting that he would be a hero and replace his father (King Vukašin). When the king heard this, he threw his son into the river in a basket to get rid of him. A "samodiva" named Vila found Marko and brought him up, becoming his foster mother. Because Marko drank the "samodiva"s milk, he acquired supernatural powers and became a Bulgarian freedom fighter against the Turks. He has a winged horse named Sharkolia ("dappled") and a stepsister, the "samodiva" Gyura. Bulgarian legends incorporate fragments of pagan mythology and beliefs, although the Marko epic was created as late as the 14–18th centuries. Among Bulgarian epic songs, songs about Krali Marko are common and pivotal.

paragraph: Bulgarian folklorists who collected stories about Marko included educator Trayko Kitanchev (in the Resen region of western Macedonia) and Marko Cepenkov of Prilep (throughout the region).

paragraph: Section::::In legend.

paragraph: South Slavic legends about Kraljević Marko or Krali Marko are primarily based on myths much older than the historical Marko Mrnjavčević. He differs in legend from the folk poems; in some areas he was imagined as a giant who walked stepping on hilltops, his head touching the clouds. He was said to have helped God shape the earth, and created the river gorge in Demir Kapija ("Iron Gate") with a stroke of his sabre. This drained the sea covering the regions of Bitola, Mariovo and Tikveš in Macedonia, making them habitable. After the earth was shaped, Marko arrogantly showed off his strength. God took it away by leaving a bag as heavy as the earth on a road; when Marko tried to lift it, he lost his strength and became an ordinary man.

paragraph: Legend also has it that Marko acquired his strength after he was suckled by a "vila". King Vukašin threw him into a river because he did not resemble him, but the boy was saved by a cowherd (who adopted him, and a "vila" suckled him). In other accounts, Marko was a shepherd (or cowherd) who found a "vila"s children lost in a mountain and shaded them against the sun (or gave them water). As a reward the "vila" suckled him three times, and he could lift and throw a large boulder. An Istrian version has Marko making a shade for two snakes, instead of the children. In a Bulgarian version, each of the three draughts of milk he suckled from the "vila"s breast became a snake.

paragraph: Marko was associated with large, solitary boulders and indentations in rocks; the boulders were said to be thrown by him from a hill, and the indentations were his footprints (or the hoofprints of his horse). He was also connected with geographic features such as hills, glens, cliffs, caves, rivers, brooks and groves, which he created or at which he did something memorable. They were often named after him, and there are many toponyms—from Istria in the west to Bulgaria in the east—derived from his name. In Bulgarian and Macedonian stories, Marko had an equally strong sister who competed with him in throwing boulders.

paragraph: In some legends, Marko's wonder horse was a gift from a "vila". A Serbian story says that he was looking for a horse who could bear him. To test a steed, he would grab him by the tail and sling him over his shoulder. Seeing a diseased piebald foal owned by some carters, Marko grabbed him by the tail but could not move him. He bought (and cured) the foal, naming him Šarac. He became an enormously powerful horse and Marko's inseparable companion. Macedonian legend has it that Marko, following a "vila"s advice, captured a sick horse on a mountain and cured him. Crusted patches on the horse's skin grew white hairs, and he became a piebald.

paragraph: According to folk tradition Marko never died; he lives on in a cave, in a moss-covered den or in an unknown land. A Serbian legend recounts that Marko once fought a battle in which so many men were killed that the soldiers (and their horses) swam in blood. He lifted his hands towards heaven and said, "Oh God, what am I going to do now?" God took pity on Marko, transporting him and Šarac to a cave (where Marko stuck his sabre into a rock and fell asleep). There is moss in the cave; Šarac eats it bit by bit, while the sabre slowly emerges from the rock. When it falls on the ground and Šarac finishes the moss, Marko will awaken and reenter the world. Some allegedly saw him after descending into a deep pit, where he lived in a large house in front of which Šarac was seen. Others saw him in a faraway land, living in a cave. According to Macedonian tradition Marko drank "eagle's water", which made him immortal; he is with Elijah in heaven.

paragraph: Section::::In modern culture.

paragraph: During the 19th century, Marko was the subject of several dramatizations. In 1831 the Hungarian drama "Prince Marko", possibly written by , was performed in Buda and in 1838, the Hungarian drama "Prince Marko – Great Serbian Hero" by Celesztin Pergő was staged in Arad. In 1848 Jovan Sterija Popović wrote the tragedy "The Dream of Prince Marko", in which the legend of sleeping Marko is its central motif. Petar Preradović wrote the drama "Kraljević Marko", which glorifies southern Slav strength. In 1863 Francesco Dall'Ongaro presented his Italian drama, "The Resurrection of Prince Marko". In her collection of short stories from 1978, Nouvelles Orientales, Marguerite Yourcenar imagined an alternative, inexplicable end to Marko's life (La Fin de Marko kraliévitch).

paragraph: Of all Serbian epic or historical figures, Marko is considered to have given the most inspiration to visual artists; a monograph on the subject lists 87 authors. His oldest known depictions are 14th-century frescoes from Marko's Monastery and Prilep. An 18th-century drawing of Marko is found in the Čajniče Gospels, a medieval parchment manuscript belonging to a Serbian Orthodox church in Čajniče in eastern Bosnia. The drawing is simple, unique in depicting Marko as a saint and reminiscent of stećci reliefs. Vuk Karadžić wrote that during his late-18th-century childhood he saw a painting of Marko carrying an ox on his back.

paragraph: Nineteenth-century lithographs of Marko were made by Anastas Jovanović, Ferdo Kikerec and others. Artists who painted Marko during that century include Mina Karadžić, Novak Radonić and Đura Jakšić. Twentieth-century artists include Nadežda Petrović, Mirko Rački, Uroš Predić and Paja Jovanović. A sculpture of Marko on Šarac by Ivan Meštrović was reproduced on a Yugoslavian banknote and stamp. Modern illustrators with Marko as their subject include Alexander Key, Aleksandar Klas, Zuko Džumhur, Vasa Pomorišac and Bane Kerac.

paragraph: Princ Marko, and his Sabre was also inspiration for Current Serbian National Anthem "Boze Pravde". The song was taken from a theatre piece Markova Sablja, very popular among Serbs in 1872.

paragraph: Motifs in multiple works are Marko and Ravijojla, Marko and his mother, Marko and Šarac, Marko shooting an arrow, Marko plowing the roads, the fight between Marko and Musa and Marko's death. Also, several artists have tried to produce a realistic portrait of Marko based on his frescoes. In 1924 Prilep Brewery introduced a light beer, "Krali Marko".

paragraph: Section::::See also.

paragraph: BULLET::::- Serbian nobility conflict (1369)

paragraph: BULLET::::- Djemo the Mountaineer

paragraph: BULLET::::- General Vuča

paragraph: Section::::Footnotes.

paragraph: The family name "Mrnjavčević" was not mentioned in contemporary sources, nor was any other surname associated with this family. The oldest known source mentioning the name "Mrnjavčević" is "Ruvarčev rodoslov" "The Genealogy of Ruvarac", written between 1563 and 1584. It is unknown whether it was introduced into the Genealogy from some older source, or from the folk poetry and tradition.

paragraph: This liturgical book, acquired in the 19th century by Russian collector Aleksey Khludov, is kept today in the State Historical Museum of Russia.

paragraph: The name Despotović ("despot's son") was applied in a similar way to Uglješa, the son of Despot Jovan Uglješa, King Vukašin's younger brother.

paragraph: Section::::References.

paragraph: BULLET::::- Bogišić, Valtazar (1878). "Народне пјесме: из старијих, највише приморских записа [Folk poems: from older records, mostly from the Littoral]" (in Serbian). 1. The Internet Archive.

paragraph: BULLET::::- Ćorović, Vladimir (November 2001). "Историја српског народа [History of the Serbian People]" (in Serbian). Project Rastko.

paragraph: BULLET::::- Deretić, Jovan (2000). "Кратка историја српске књижевности [Short history of Serbian literature]" (in Serbian). Project Rastko.

paragraph: BULLET::::- Fajfrić, Željko (7 December 2000). "Котроманићи" (in Serbian). Project Rastko.

paragraph: BULLET::::- Fostikov, Aleksandra (2002). "О Дмитру Краљевићу [About Dmitar Kraljević]" (in Serbian). "Историјски часопис [Historical Review]" (Belgrade: Istorijski institut) 49. .

paragraph: BULLET::::- Jireček, Konstantin Josef (1911). "Geschichte der Serben [History of the Serbs]" (in German). 1. The Internet Archive.

paragraph: BULLET::::- Karadžić, Vuk Stefanović (1852). "Српски рјечник [Serbian dictionary]". Vienna: Vuk Stefanović Karadžić.

paragraph: BULLET::::- Karadžić, Vuk Stefanović (11 October 2000). "Српске народне пјесме [Serbian folk poems]" (in Serbian). 2. Project Rastko.

paragraph: BULLET::::- Konstantin the Philosopher (2000). Gordana Jovanović ed. "Житије деспота Стефана Лазаревића [Biography of Despot Stefan Lazarević]" (in Serbian). Project Rastko.

paragraph: BULLET::::- Low, David Halyburton (1922). "The Ballads of Marko Kraljević". The Internet Archive.

paragraph: BULLET::::- Mandić, Ranko (2003). "Kraljevići Marko i Andreaš" (in Serbian). "Dinar: Numizmatički časopis" (Belgrade: Serbian Numismatic Society) No. 21. .

paragraph: BULLET::::- Mihaljčić, Rade (1975). "Крај Српског царства [The end of the Serbian Empire]" (in Serbian). Belgrade: Srpska književna zadruga.

paragraph: BULLET::::- Miklosich, Franz (1858). "Monumenta serbica spectantia historiam Serbiae Bosnae Ragusii" (in Serbian and Latin). The Internet Archive.

paragraph: BULLET::::- Momirović, Petar (1956). "Stari rukopisi i štampane knjige u Čajniču [Old manuscripts and printed books in Čajniče]" (in Serbian). "Naše starine" (Sarajevo: Zavod za zaštitu spomenika kulture) 3.

paragraph: BULLET::::- Noyes, George Rapall; Bacon, Leonard (1913). "Heroic Ballads of Servia". The Internet Sacred Text Archive.

paragraph: BULLET::::- Radenković, Ljubinko (2001). "Краљевић Марко" (in Serbian). Svetlana Mikhaylovna Tolstaya, Ljubinko Radenković eds. "Словенска митологија: Енциклопедијски речник [Slavic mythology: Encyclopedic dictionary]". Belgrade: Zepter Book World. .

paragraph: BULLET::::- Rudić, Srđan (2001). "O првом помену презимена Mрњавчевић [On the first mention of the Mrnjavčević surname]" (in Serbian). "Историјски часопис [Historical Review]" (Belgrade: Istorijski institut) 48. .

paragraph: BULLET::::- Stojanović, Ljubomir (1902). "Стари српски записи и натписи [Old Serbian inscriptions and superscriptions]" (in Serbian). 1. Belgrade: Serbian Royal Academy.

paragraph: BULLET::::- Šarenac, Darko (1996). "Марко Краљевић у машти ликовних уметника (in Serbian). Belgrade, BIPIF.

paragraph: BULLET::::- Šuica, Marko. (2000). "Немирно доба српског средњег века: властела српских обласних господара [The turbulent era of the Serbian Middle Ages: the noblemen of the Serbian regional lords]" (in Serbian). Belgrade: Službeni list SRJ. .

paragraph: BULLET::::- Theiner, Augustin (1860). "Vetera monumenta historica Hungariam sacram illustrantia" (in Latin). 2. The Internet Archive.

paragraph: Section::::External links.

paragraph: BULLET::::- The Ballads of Marko Kraljević, translated by David Halyburton Low (1922)

paragraph: BULLET::::- Heroic Ballads of Servia, translated by George Rapall Noyes and Leonard Bacon (1913)

paragraph: BULLET::::- Macedonian songs, fairy tales and legends about Marko (Macedonian)

paragraph: BULLET::::- Bulgarian ballads (also here, with more information) and legends about Marko (Bulgarian)

paragraph: BULLET::::- Marko, The King's Son: Hero of The Serbs by Clarence A. Manning (1932)

paragraph: BULLET::::- Poem, "Marko Kraljević and the Vila"

paragraph: BULLET::::- Conclusion of "Prince Marko and Musa Kesedžija" (verses 220–281)

paragraph: BULLET::::- Web comic strip

paragraph: Videos of Serbian epic poems sung to the accompaniment of the gusle:

paragraph: BULLET::::- Prince Marko Recognises His Father's Sword

paragraph: BULLET::::- Prince Marko Abolishes the Marriage Tax

paragraph: BULLET::::- Prince Marko and the Eagle

alias:
Prince Marko
Kraljević Marko
Marko Kraljević

description: Serbian medieval ruler and fictional character

wikidata_label: Marko Mrnjavčević

wikipedia_title: Prince Marko


text:
Empire of Brazil
Order of St. Gregory the Great
Order of the Rose
Universidade Cândido Mendes
visconde de Cairu
Antônio Carlos Villaça

categories: 1881 deaths,Brazilian politicians,Recipients of the Order of the Rose,Brazilian lawyers,1818 births,Male journalists,19th-century journalists,Brazilian journalists,Knights of St. Gregory the Great

paragraph: Cândido Mendes de Almeida

paragraph: Cândido Mendes de Almeida (14 October 18181 March 1881) was a Brazilian lawyer, journalist and politician.

paragraph: He was representative and senator of the Empire of Brazil (1871–1881). He was decorated with the Order of St. Gregory the Great and the Order of the Rose.

paragraph: The Universidade Cândido Mendes was named in his honor.

paragraph: Section::::Works.

paragraph: Mendes was author of several works in the fields of Law, History, and Politics:

paragraph: BULLET::::- "As Eleições da Província do Maranhão em 1842 sob a Presidência do Dr. Venâncio José Lisboa" (1843);

paragraph: BULLET::::- "Os Serviços relevantes de Manoel Telles da Silva Lobo, na Província do Maranhão" (1851);

paragraph: BULLET::::- "A Carolina, ou, a definitiva fixação de limites entre as provincias do Maranhão e de Goyaz" (1852);

paragraph: BULLET::::- "Atlas do Império do Brasil" (1860)

paragraph: BULLET::::- "Memórias para a história do extincto estado do Maranhão (1860-74), dois volumes;

paragraph: BULLET::::- "S. Luiz e o Pontificado: Estudo Histórico" (1869);

paragraph: BULLET::::- "Código Filipino" (1870-78) (edição anotada das "Ordenações Filipinas" com erudita introdução de sua autoria sobre a história do Direito)

paragraph: BULLET::::- "Direito Civil Eclesiástico Brasileiro" (reunião de toda legislação canônica ao longo da história do Brasil com introdução de mais de quatrocentas páginas com a história das relações entre o Estado e a Igreja no Brasil)

paragraph: BULLET::::- "Legislação e Jurisprudência no Brasil";

paragraph: BULLET::::- "Direito Mercantil Brasileiro" (edição anotada do livro do visconde de Cairu com erudita introdução de mais de oitocentas páginas com a história do comércio marítimo no Brasil).

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Antônio Carlos Villaça. "O Senador Cândido Mendes" (1981).

alias:
Candido Mendes de Almeida
Candido Mendes
Cândido Mendes

description: Brazilian politician, journalist

wikidata_label: Cândido Mendes de Almeida

wikipedia_title: Cândido Mendes de Almeida


text: freestyle skier

text: Östersund, Sweden

text: slopestyle

text: Sweden

text: 2014 Winter Olympics

text: Sochi

text: PyeongChang

text: slopestyle final

categories: People from Östersund,Living people,Swedish male freestyle skiers,Freestyle skiers at the 2018 Winter Olympics,1994 births,Olympic freestyle skiers of Sweden,Freestyle skiers at the 2014 Winter Olympics

paragraph: Jesper Tjäder

paragraph: Jesper Tjäder (born 22 May 1994) is a Swedish freestyle skier. He was born in Östersund, Sweden. He competed in slopestyle at the FIS Freestyle World Ski Championships 2013, and he represented Sweden in slopestyle at the 2014 Winter Olympics in Sochi, where he finished 22nd. Jesper returned to the Winter Olympics for 2018 in PyeongChang, this time qualifying for the slopestyle final and finishing a much-improved eleventh.

description: Swedish freestyle skier

wikidata_label: Jesper Tjäder

wikipedia_title: Jesper Tjäder


text:
Norman
Wales
North Wales
Humphrey de Tillieul
Hugh d'Avranches
Edward the Confessor
Welsh Marches
Earl of Chester
cantref
Tegeingl
Motte-and-bailey castle
Twthill
Rhuddlan
vassal
Gruffudd ap Cynan
recover
Gwynedd
Trahaearn ap Caradog
Ireland
cantref
Rhos
Rhufoniog
Deganwy
River Conwy
Battle of Mynydd Carn
Rhug
Corwen
Chester
Bangor
Caernarfon
Aberlleiniog
Domesday Book
bishoprics
Bangor
St Asaph
William the Conqueror
Robert Curthose
Rochester
William Rufus
Great Orme

categories: Norman warriors,Anglo-Normans in Wales,1093 deaths,Normans killed in battle

paragraph: Robert of Rhuddlan

paragraph: Robert of Rhuddlan (died 3 July 1093) was a Norman adventurer who became lord of much of north-east Wales and for a period lord of all North Wales.

paragraph: Robert was the son of Humphrey de Tillieul (or Bigod) and Adeliza de Grentemesnil, brother of Arnaud de Tilleul and the cousin of Hugh d'Avranches, the 1st Earl of Chester. He was also the father of William of Rhuddlan who was lost in the White Ship wreck in 1120 off the coast of Barfleur, France. He was recorded to have served as a squire in the court of Edward the Confessor and appears to have come to the Welsh Marches before 1066 in the service of the king. Hugh became Earl of Chester in 1070, and Robert appears to have been appointed Hugh's "commander of troops" in 1072. He immediately began hostilities with the Welsh, and having captured land in the cantref of Tegeingl (North East Wales) he built a Motte-and-bailey castle at Twthill near Rhuddlan, holding the lands as a vassal of Earl Hugh.

paragraph: When Gruffudd ap Cynan tried to recover the throne of Gwynedd from Trahaearn ap Caradog in 1075, Robert assisted Gruffudd by providing Norman troops. Later the same year Trahaearn counter-attacked and drove Gruffudd to seek refuge in Ireland, but Robert was able to take advantage of the civil war to seize the cantrefs of Rhos and Rhufoniog and to build another castle at Deganwy. He now ruled most of northern Wales east of the River Conwy.

paragraph: In 1081, Trahaearn ap Caradog, who had been able to prevent Robert from encroaching further west, was killed in the Battle of Mynydd Carn by Gruffudd ap Cynan and his allies. Gruffudd now became king of Gwynedd, but shortly thereafter he was captured by treachery by the Normans at Rhug near Corwen. Gruffudd was imprisoned by Earl Hugh in his castle at Chester, but Robert seems to have been responsible for his capture, since he was the one to claim Gruffydd's lands. Robert built castles at Bangor, Caernarfon, Aberlleiniog and elsewhere. In the Domesday Book he is said to hold all of North Wales apart from lands belonging to the bishoprics of Bangor and St Asaph, holding these lands directly of the king and not as in fief from Earl Hugh. He was liable to an annual rent of £40.

paragraph: On William the Conqueror's death in 1087, war broke out between his sons. Robert supported the elder son, Robert Curthose and in 1088 he and his troops were involved in the siege of Rochester. They were however obliged to surrender to the forces of William Rufus.

paragraph: Robert's career was brought to an abrupt end in 1093 at the beginning of the great Welsh revolt. He was enjoying a noontide nap in his castle at Deganwy when the news was brought to him that Welsh raiders had landed in three ships underneath the Great Orme and pillaged his lands. Some sources say that these raiders were led by Gruffudd ap Cynan, who had escaped from captivity in Chester. The raiders had beached their ships and were busy loading the plunder. Robert despatched messengers to gather his troops and hastened to the Great Orme, where he found that the rising tide was about to allow the Welsh to refloat their vessels and get away with the loot before Robert's troops could appear. In a fury, Robert rushed down the slopes to attack them, followed only by his armour-bearer. He was killed by a volley of javelins, and the raiders sailed off with his head attached to the mast of one of the vessels.

paragraph: Robert's lands in Gwynedd were now taken over by Earl Hugh of Chester, but the Welsh revolt of 1094 led by Gruffudd ap Cynan resulted in the loss of most of this territory.

paragraph: Section::::References.

paragraph: BULLET::::- Remfry, P.M, Castell Dinas Emrys, Gwynedd () [SCS Publishing, 1995]

description: Norman adventurer

wikidata_label: Robert of Rhuddlan

wikipedia_title: Robert of Rhuddlan


text: Shimer College

text: Great Depression

text: junior college

text: Mason, Michigan

text: Bachelor of Arts

text: Kalamazoo College

text: Newton Theological Institute

text: Bachelor of Divinity

text: Columbia University

text: Stanford University

text: Doctor of Education

text: Stanford Graduate School of Education

text: junior college

text: William Parker McKee

text: Mount Carroll, Illinois

text: McKee administration

text: University-preparatory school

text: junior college

text: four-year junior college

text: A. Beth Hostetter

text: Raymond Culver

text: Kalamazoo College

text: Menlo Park, California

text: Linfield College

text: University of Redlands

text: History of Shimer College

text: List of Shimer College people

categories: Stanford Graduate School of Education alumni,People from Mason, Michigan,1886 births,People from Menlo Park, California,Presidents of Shimer College,Linfield College people,1958 deaths,Kalamazoo College alumni

paragraph: Floyd Wilcox

paragraph: Floyd Cleveland Wilcox (March 17, 1886 – April 20, 1958) was the third president of Shimer College, serving from 1930 to 1935. His leadership, though marked by controversy, saw the school through the most difficult years of the Great Depression. He oversaw the transition of the school's curriculum from a two-year to a four-year junior college program.

paragraph: Wilcox was born in Mason, Michigan on March 17, 1886. Wilcox obtained a Bachelor of Arts from Kalamazoo College in 1910, and subsequently studied at the Newton Theological Institute in Massachusetts until 1911. In 1913, he obtained a Bachelor of Divinity from the Union Theological Seminary in the City of New York. In 1920, he obtained a Master of Arts in Education from the Teachers' College of Columbia University. He subsequently traveled to California and received a Cubberly Fellowship at Stanford University, where he earned a Doctor of Education from the Stanford Graduate School of Education in 1930. Wilcox's graduate study focused on the junior college, and this was a significant factor in his selection for the presidency of Shimer.

paragraph: 1930 was also the end of the tenure of Shimer's second president, William Parker McKee, who had served since 1897. He had also served in administrative positions at schools in China. Based on this experience, his graduate studies, and the recommendations of prominent educators, Wilcox was unanimously recommended by the search committee and approved by the Shimer College Board of Trustees, at a salary of $5000 per year.

paragraph: Section::::Presidency.

paragraph: Upon assuming the presidency of the school, then known as the Frances Shimer School and located in Mount Carroll, Illinois, Wilcox encountered significant administrative and financial obstacles. Due to the administrative vacuum in the late years of the McKee administration, local members of the Board of Trustees had become actively involved in college governance, which made it difficult for Wilcox to assert his authority. A loan for more than $10,000 had been taken out against operating funds to pay for the construction of the gymnasium in 1929, but no provision had been made to pay it back. An auditor's report in 1930 further cited "numerous evidences of carelessness in the handling of accounts".

paragraph: Wilcox used his training in educational administration to implement various changes in Shimer's operations. In the first year of the Wilcox administration, the curriculum was changed from a combined University-preparatory school and two-year junior college to a four-year junior college. In recognition of this, in 1932, the name of the college was changed from "Frances Shimer School" to "Frances Shimer Junior College". Wilcox also expressed concern about reducing the school's high attrition rate, and in 1933-1934 relaxed school rules to provide the students with greater freedom and responsibility. In addition, he simplified the fee structure and hired guidance personnel including a psychologist.

paragraph: Beginning in 1931, the power struggle between Wilcox and local trustees led by Samuel J. Campbell intensified, as financial pressures due to the Depression forced austerity measures including a 10% reduction in faculty pay. In the first years of the Wilcox administration, enrollment fell from 215 to 129, which led many faculty to feel that Wilcox was not properly addressing recruitment and promotion issues. The faculty also felt that their voices were not being heard by the Board, because they were filtered through Wilcox's reports. After Campbell issued a second call for the Board to meet to discuss problems with Wilcox, Wilcox tendered his resignation on April 27, 1935, effective June 30 of that year. He was succeeded by A. Beth Hostetter, longtime instructor and administrative officer who served as Acting President until the appointment of Raymond Culver in 1936.

paragraph: Wilcox received an honorary doctorate of divinity from his alma mater Kalamazoo College in 1932.

paragraph: Section::::Later life.

paragraph: After leaving Shimer, Wilcox moved with his family to Menlo Park, California and undertook additional postgraduate study at Stanford. He subsequently served at Linfield College in Oregon. In 1939, he left Linfield for the University of Redlands, where he served as the director of curriculum, guidance and admissions. He retired in 1954.

paragraph: Section::::See also.

paragraph: BULLET::::- History of Shimer College

paragraph: BULLET::::- List of Shimer College people

description: President of Shimer College

wikidata_label: Floyd Wilcox

wikipedia_title: Floyd Wilcox


text: Basking Ridge, NJ

text: Neil Peart

text: Bill Bruford

text: Terry Bozzio

text: YMCA

text: Europe

text: Prague

text: Czech Republic

text: Chris Pennie

text: Dillinger Escape Plan

text: Coheed and Cambria

text: Billy Martin

text: Medeski Martin and Wood

text: Cyro Baptista

text: Kato Hidecki

text: Shahzad Ismaily

text: Life on Drums

text: avant-garde

text: electronica

text: New Jersey

text: world

text: In Petto

text: Soul Amputation

text: TRAP

text: Rush

text: Yes

text: Frank Zappa

text: Jay Sorce

text: St. Thomas Aquinas College

text: Valentine's Day

text: Issue Project Room

text: Brooklyn, NY

text: Amir Ziv

text: Cyro Baptista's Beat the Donkey

text: Daylow

text: Chris Pennie

text: Dillinger Escape Plan

text: Coheed and Cambria

text: Ben Clapp

text: Skeleton Key

text: Behold...The Arctopus

text: Ches Smith

text: Marc Ribot

text: Secret Chiefs 3

text: The Loose Roosters

text: G. Calvin Weston

text: Lounge Lizards

text: Ornette Coleman

text: Marc Ribot

text: Skeleton Key

text: Miss TK & The Revenge

text: Amir Ziv

text: Chuck Treece

text: McRad

text: Mike Wojik

text: Mike Noordzy

text: Brian DeMello

text: Montagna & The Mouth To Mouth

text: Strange Things Done in the Midnight Sun

text: Tribal Groove

text: math rock

text: Frank Zappa

text: Mike Patton

text: Sci-Fi

text: Long Branch, NJ

text: Captured! By Robots

text: jambands.com

text: 99 Luftballons

text: Nena

text: The Imperial March

text: Star Wars

text: Danny Elfman

text: Philip Glass

text: omnichord

text: High Times

text: Bacteria

text: Retromedia

text: self-titled debut

text: Nacht Records

text: Pork Pie

text: DW

text: Tama

text: Zildjian

text: Sabian

text: gongs

text: LP

text: Udu

text: kalimba

text: caxixi

text: Boss

text: Roland

text: Roland SPD-S

text: Roland V Drums

text: Alesis

text: Yamaha

text: Alesis Micron

text: MicroKorg

text: Electro Harmonix

text: Korg Monotron

text: Zendrum

text: Kaossilator

text: Washburn

text: Fender P Bass

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Nacht Records

text: Independent Release

text: Vongoe Films

text: Amulet Records

categories: 1979 births,St. Thomas Aquinas College alumni

paragraph: Steve Honoshowsky

paragraph: Steve Honoshowsky is a professional musician raised in Basking Ridge, NJ. He began playing drums at the age of ten, inspired by the likes of Neil Peart, Bill Bruford, and Terry Bozzio. In 2008, Honoshowsky represented the United States at the YMCA Europe Festival in Prague, Czech Republic, giving two solo drum performances on the center stage. Honoshowsky studied briefly under Chris Pennie (Dillinger Escape Plan, Coheed and Cambria) and is currently studying under percussionist Billy Martin (Medeski Martin and Wood). He has performed with Cyro Baptista and Billy Martin's Student Bodies, with Billy's Mystery Riddim Band (featuring Kato Hidecki  and Shahzad Ismaily), as well as Billy's Fang Percussion Ensemble. He is also featured in Billy's DVD entitled "Life on Drums", which was released on October 8, 2010. Honoshowsky is most commonly known as the founder of No Use For Humans (NUFH), an avant-garde electronica band from New Jersey, and he's also the founder of the drumming collective "Speak Softly and Carry a Big Stick". Honoshowsky has performed and recorded with many metro New York City/ New Jersey bands, from hip-hop band Universal Rebel to world/avant-garde group In Petto, has toured the United States with hardcore band Hungry Housewives, and also performs solo sets under the name Soul Amputation. In addition to performing, Honoshowsky teaches private lessons, hosts drum workshops, and is a facilitator The Rhythmic Arts Project (TRAP) program for therapy and to increase coordination and motor skills for physically and mentally disabled people. In addition, Honoshowsky plays bass and a variety of keyboards/electronics/vocals.

paragraph: Section::::Background.

paragraph: Steve was born on February 7, 1979, in Morristown, NJ. Growing up, he had aspirations to play the electric guitar, but was dissuaded by his parents who informed him he could not play guitar in the high school concert band, which like his older brothers he intended on joining. Drums were the next best thing in his mind, so he picked up the sticks and began practicing his rudiment every day while listening to bands like Rush, Yes, and Frank Zappa. Beginning in middle school, Steve performed with guitarist Jay Sorce  and bassist Rob Gorman in the band Pigs In Space. Pigs in Space gained a cult following in central New Jersey in the early 90's until eventual breakup in 1995. He attended St. Thomas Aquinas College, graduating in 2001.

paragraph: In 2008, Honoshowsky founded the drumming collective "Speak Softly and Carry a Big Stick". "Speak Softly" has opened doors to what can be created in the medium of "percussion only music". Each guest drummer was asked to record a drum piece. They were given no parameters as to what to play. Upon receiving each recording, Honoshowsky would listen to them just once and then record a duet piece over top of it. The idea was to keep it sounding as "in the moment" as possible. On Valentine's Day 2008, Honoshowsky and Amir Ziv performed their drum duets at the Issue Project Room  in Brooklyn, NY, as part of Billy Martin's Week of Drums and Percussion.

paragraph: Section::::Speak Softly and Carry a Big Stick.:Volume 1.

paragraph: BULLET::::1. Amir Ziv (Droid, KOT KOT)

paragraph: BULLET::::2. Tim Kieper (Cyro Baptista's Beat the Donkey, Banquet of Spirits)

paragraph: BULLET::::3. Steve Dans (Daylow)

paragraph: BULLET::::4. Chris Pennie (Dillinger Escape Plan, Coheed and Cambria)

paragraph: BULLET::::5. Ben Ross (Mothguts)

paragraph: BULLET::::6. Pete Andrews (Big Mechanical Bull)

paragraph: BULLET::::7. Ben Clapp (Skeleton Key)

paragraph: BULLET::::8. Charlie Zeleny (Behold...The Arctopus)

paragraph: Section::::Speak Softly and Carry a Big Stick.:Volume 2.

paragraph: BULLET::::1. Ches Smith (Marc Ribot, Secret Chiefs 3)

paragraph: BULLET::::2. Brian Wolinski (117, The Loose Roosters, Joe Harvard Band)

paragraph: BULLET::::3. G. Calvin Weston (Lounge Lizards, Ornette Coleman, Marc Ribot)

paragraph: BULLET::::4. Bob Vaccarelli (Skeleton Key, Miss TK & The Revenge)

paragraph: BULLET::::5. Amir Ziv (Droid, KOT KOT)

paragraph: BULLET::::6. Chuck Treece (McRad)

paragraph: BULLET::::7. Mike Wojik (Bonk, Trio of Madness)

paragraph: BULLET::::8. Mike Noordzy (Mothguts, Intense Men)

paragraph: BULLET::::9. Brian DeMello (Montagna & The Mouth To Mouth, Strange Things Done in the Midnight Sun)

paragraph: BULLET::::10. Tribal Groove

paragraph: Section::::No Use For Humans.

paragraph: Section::::No Use For Humans.:2003–2005.

paragraph: NUFH was formed in 2003 when Honoshowky and keyboardist Sean Wegeler got together and performed and recorded as a duo, creating music that was structured compositionally and sonically in a way neither had experienced before. This style was dubbed "experimental electronic math rock". "The music was based on a freewheeling style blending imrpov-centric electronics and ethnic motifs with a complex patchwork of oddly linked themes and shifting time signatures." Their debut self-titled EP was recorded in October 2003 and was often compared to the likings of a Frank Zappa or Mike Patton project, while much of the sound gives it the feel of an obscure Sci-Fi or video game soundtrack. "Almost entirely instrumental (only "Robots! (V. Brue)" contains some distorted vocals), the music is based on quickly rotating riffs, each seldom lasting more than a few bars." "Lesson From A Dying Breed" was their sophomore release. It's eight studio tracks were recorded in September 2004, followed by 6 tracks recorded live at the Brighton Bar on September 14, 2004 in Long Branch, NJ, during an opening act for the band Captured! By Robots. As read on jambands.com, "Lesson's" "...eight studio tracks careen cinematically through bizarre melodic percussion, hip-hop, metal, and other sonic chicanery...No Use For Humans is the virtual definition of what it means to be adventurous, to abandon received wisdom (and musical traditions) and just get loose." An uncovering of Honoshowsky's love for 70's and 80's music and soundtracks is exposed with covers of "99 Luftballons" by Nena, "The Imperial March" from "Star Wars", and "Obituaries/Candyman" by Danny Elfman and Philip Glass, respectively.

paragraph: Section::::No Use For Humans.:March 2005–September 2006.

paragraph: In March 2005, Alicia Testa joined the band and added a new dynamic with her powerful vocals, keyboards, flute, and the 80's-esque omnichords. This trio went into the studio in March 2005 and recorded a full length, self-titled album. A common reaction to the album was an appreciation of the originality of its sound. High Times magazine described it as there being "no way to satisfactorily pigeonhole this music. Compositions will begin with fits of high energy, synthesized drumming, then dissipate and dissolve into a mellow and melodious groove then snap into something else...it is musical experimentation the mainstream frowns upon and its power is in keeping listeners on their toes." Music journalist Jesse Jarnow explained "they prove themselves steeped in the maximalist tradition — though not in a theatrical wanky way, and not in a jamband way, either. The music is almost all synthesized. If there's anything acoustic present, it just sounds like a really good imitation." Also in 2005, Steve began performing as a solo act under the name "Soul Amputation". This project allowed Steve to improvise on a drum kit while incorporating keyboards and other electronics.

paragraph: Section::::No Use For Humans.:2007–2010.

paragraph: This lineup of No Use For Humans includes Honoshowky, Mike Biskup on electric guitar, and Willy Carmona on trumpet, keyboards, and percussion. Biskup and Honoshowsky have history performing together, going back to the 90's when they both performed in the NYC-based world/avante-garde band, In Petto. In June 2008, this lineup, including Sean Wegeler on keyboards, entered the studio and recorded the album "An Index of Fecal-Oral Transmission". "The tracks of "An Index of Fecal-Oral Transmission" blend jazz-fusion and world-beat flourishes with soundtrack-style/ambient textures." According to the album's cover, "Since time existed, this planet's unseen organisms had wiped out billions of humans before they could earn their immunity to them. Bacteria is ever changing; ever evolving...This music was insipred by the little creatures humans infect each other with when they are affected by one another".

paragraph: Section::::No Use For Humans.:Solo NUFH.

paragraph: 2011 found Steve shifting gears, moving from an evenly balanced acoustic and electronic mix to an almost all electronic presentation. "Live at Retromedia" serves as the debut release of this direction, and features a mostly solo Steve with a few NUFH alumni sitting in for a song or two. A vast repertoire of synth, percussion, keyboard, reverb, echo, and wave manipulation make the electronic orchestration a strong suit of this album.

paragraph: Following the release of "Retromedia", Steve was quick to enter the studio again, this time recruiting a core group of guests in a strictly collaborative effort. Not only does "Humanoids: A No Use For Humans Collective" contain some very deep electronic music, several tracks have him back behind the acoustic drums.

paragraph: Section::::No Use For Humans.:Daughter Vision.

paragraph: Formed in the winter of 2013, Steve and fellow NJ musician Brian Powell have teamed up to form the electro-pop power duo "Daughter Vision". Formed in late 2012, they released their self-titled debut under the NJ label Nacht Records. DV is known for having a visually stimulating live show as well as a mostly electronic, dance party sound.

paragraph: Section::::Equipment.

paragraph: Section::::Equipment.:Drums.

paragraph: BULLET::::- Pork Pie snare drum

paragraph: BULLET::::- DW Soprano snare

paragraph: BULLET::::- DW 6 piece Collector's Series

paragraph: BULLET::::- Tama 5 piece Stagestar (depending on the gig)

paragraph: BULLET::::- occasional original Tama Octobons

paragraph: Section::::Equipment.:Cymbals.

paragraph: BULLET::::- 18" Zildjian Custom K Ride

paragraph: BULLET::::- 16" Zildjian Trash China

paragraph: BULLET::::- Hi-Hats= 14" Ziljian Field (top), 14" Ziljian Schimitar (bottom), 10" Zildjian Splash (top) 10" Sabian Neil Peart Paragon Splash (bottom)

paragraph: BULLET::::- FX CYMBALS (various, interchangeable)

paragraph: BULLET::::- Zildjian Trash Spiral

paragraph: BULLET::::- Several 8" Stagg & LP cup chimes/icebells

paragraph: BULLET::::- Zildjian Zilbells

paragraph: BULLET::::- Sabian Will Calhoun Alien Disc

paragraph: BULLET::::- various firebells and found objects

paragraph: Section::::Equipment.:Other percussion.

paragraph: BULLET::::- Several hand made cowbells and gongs

paragraph: BULLET::::- Zildjian gongs

paragraph: BULLET::::- LP Talking Drum

paragraph: BULLET::::- LP Udu

paragraph: BULLET::::- kalimba

paragraph: BULLET::::- bamboo, blocks, chains, caxixis, pandeiros, animal calls etc.

paragraph: Section::::Equipment.:Electronics.

paragraph: BULLET::::- Boss Dr. Sample Samplers

paragraph: BULLET::::- Roland Handsonic

paragraph: BULLET::::- Roland SPD-S

paragraph: BULLET::::- Roland V Drums

paragraph: BULLET::::- Original Korg Wave Drum

paragraph: BULLET::::- Alesis & Yamaha Electronic Drum Modules (often combined with triggers on found objects)

paragraph: BULLET::::- Alesis Micron

paragraph: BULLET::::- MicroKorg

paragraph: BULLET::::- Boss loop Station

paragraph: BULLET::::- Electro Harmonix Frequency Analyzer

paragraph: BULLET::::- Korg Monotron

paragraph: BULLET::::- Zendrum

paragraph: BULLET::::- Digitech Whammy Pedal

paragraph: BULLET::::- Korg Monotribe

paragraph: BULLET::::- Korg Kaossilator

paragraph: BULLET::::- Zendrum Zap

paragraph: BULLET::::- Boss Digital Delay

paragraph: BULLET::::- Mattel Synsonics

paragraph: Section::::Equipment.:Bass.

paragraph: BULLET::::- Washburn Bass

paragraph: BULLET::::- Fender P Bass

paragraph: Section::::Discography.

paragraph: No Use For Humans

paragraph: BULLET::::- "Just Another Solo Project" (2003)

paragraph: BULLET::::- "No Use For Humans – Demo" (2003)

paragraph: BULLET::::- "Lesson From A Dying Breed" (2004)

paragraph: BULLET::::- "No Use For Humans DVD" (2004)

paragraph: BULLET::::- "No Use For Humans" (2005)

paragraph: BULLET::::- "An Index of Fecal-Oral Transmission" (2006)

paragraph: BULLET::::- "Live at Retromedia" (2011 - Nacht Records)

paragraph: BULLET::::- "Humanoids: A No Use For Humans Collective" (2011 - Nacht Records)

paragraph: Speak Softly and Carry a Big Stick

paragraph: BULLET::::- "Speak Softly and Carry a Big Stick Vol.1" (2009 - Nacht Records)

paragraph: BULLET::::- "Speak Softly and Carry a Big Stick Vol.2" (2010 - Nacht Records)

paragraph: Soul Amputation

paragraph: BULLET::::- "Soul Amputation" (2005)

paragraph: Universal Rebel

paragraph: BULLET::::- "Overdog" (2007)

paragraph: BULLET::::- "On The Shoulders of Giants" (2010)

paragraph: In Petto

paragraph: BULLET::::- "Live at the Knitting Factory" (2001)

paragraph: BULLET::::- "In Petto EP" (2003)

paragraph: The Hungry Housewives

paragraph: BULLET::::- "Demo" (2001)

paragraph: BULLET::::- "World Domestication" (2001)

paragraph: BULLET::::- "Yum Yum Gimme Some" (2002)

paragraph: BULLET::::- "Wave Goodbye" (2005)

paragraph: BULLET::::- "The South Jersey Seashore Lifeguard Convention Band" (2006)

paragraph: BULLET::::- "Lifeboat for Fatty" (2010)

paragraph: The Community

paragraph: BULLET::::- "The Project" (2010)

paragraph: Daylow

paragraph: BULLET::::- "Hyphen One & Daylow" (2005)

paragraph: Intense Men

paragraph: BULLET::::- "100% Intense" (2010 - Nacht Records)

paragraph: Giggle the Ozone

paragraph: BULLET::::- "Charge" (2010)

paragraph: BULLET::::- "Dreamjob" (2012)

paragraph: Ballroom

paragraph: BULLET::::- "Enter the Ballroom" (2012 - Nacht Records)

paragraph: BULLET::::- "Genital Hospital" (2014 - Nacht Records)

paragraph: Sylvana Joyce & The Moment

paragraph: BULLET::::- "For You, Comrade" (2012 - Nacht Records)

paragraph: Daughter Vision

paragraph: BULLET::::- "Daughter Vision" (2013 - Nacht Records)

paragraph: BULLET::::- "Accomplices" (2014 - Nacht Records)

paragraph: BULLET::::- "Advanced Style (Soundtrack credit)" - (2014 - Independent Release)

paragraph: Billy Martin releases

paragraph: BULLET::::- "Life on Drums" (2012 - Vongoe Films)

paragraph: BULLET::::- "Wandering" (2014 - Amulet Records)

paragraph: Section::::External links.

paragraph: BULLET::::- Steve Honoshowky/No Use For Humans official website

description: American musician

wikidata_label: Steve Honoshowsky

wikipedia_title: Steve Honoshowsky


text: courtesy name

text: Song dynasty

text: landscape painter

text: Kaifeng

text: Hangzhou

text: Guo Xi

text: Fan Kuan

text: Li Cheng

text: Xia Gui

text: Ma Yuan

text: Heyang

text: Emperor Huizong

text: Kaifeng

text: invasion by

text: Jurchen

text: Jin dynasty

text: Hangzhou

text: Emperor Gaozong

text: Guo Xi

text: Fan Kuan

text: Li Cheng

text: Xia Gui

text: Ma Yuan

text: hanging scroll

text: National Palace Museum

text: Taipei

text: Taiwan

text: Culture of the Song Dynasty

text: Chinese painting

text: Chinese art

text: History of Chinese art

text: JSTOR

text: JSTOR

text: Sung and Yuan paintings

text: Brief biography

categories: 11th-century Chinese painters,Painters from Henan,People from Jiaozuo,1130 deaths,Song dynasty landscape painters,1050 births

paragraph: Li Tang (painter)

paragraph: Li Tang (, courtesy name Xigu 晞古; c. 1050 – 1130) was a Song dynasty Chinese landscape painter who practised at Kaifeng and Hangzhou. He forms a link between earlier painters such as Guo Xi, Fan Kuan and Li Cheng and later artists such as Xia Gui and Ma Yuan. He perfected the technique of "axe-cut" brush-strokes.

paragraph: Section::::Biography.

paragraph: Li Tang was born ca. 1050, a native of Heyang. Already in his early years he earned his living by painting. Sometime after 1100, under Emperor Huizong, he earned the highest rank in the Painting Academy at the court in Bianjing (now Kaifeng).

paragraph: He survived the invasion by the Jurchen Jin dynasty in 1126–27, and, together with the court, moved to Qiantang (now Hangzhou), which became the capital city of the newly established Southern Song Dynasty. He continued to serve as painter in the court under Emperor Gaozong, and died circa 1130.

paragraph: Section::::Character of his art.

paragraph: Li was among the most influential of the early Southern Song landscape artists and had many followers. He represented a vital link between the Northern Song school (Guo Xi, Fan Kuan, Li Cheng, and others), and the later Southern Song painters, such as Xia Gui and Ma Yuan, both of whom studied Li's art. He developed and perfected the technique of the so-called "ax-cut" brushstrokes, which gave rocks and mountains a particularly fine quality.

paragraph: As with most Song artists, few of his paintings survive, and most are of questionable authorship. The large hanging scroll "Wind in Pines Among a Myriad Valleys" (also known as "Whispering Pines in the Mountains"; National Palace Museum, Taipei, Taiwan) is the only painting that bears a clear signature by the artist, which is placed on one of the peaks in the top section. It reads: "Painted by Li Tang of Ho-yang in Spring of the "chia-ch'en" year of the Hsüan-ho Reign of the Great Song [Dynasty]." The texture of the rocks in this painting is a standard example of the "ax-cut" strokes technique.

paragraph: Other works commonly attributed to Li Tang are "", a long landscape scroll, and "Sitting on Rocks Gazing at the Mist", both in the possession of the National Palace Museum.

paragraph: Section::::See also.

paragraph: BULLET::::- Culture of the Song Dynasty

paragraph: BULLET::::- Chinese painting

paragraph: BULLET::::- Chinese art

paragraph: BULLET::::- History of Chinese art

paragraph: Section::::References.

paragraph: BULLET::::- Barnhart, R. M. et al. (1997). Three thousand years of Chinese painting. New Haven, Yale University Press.

paragraph: BULLET::::- Richard Edwards: "The Landscape Art of Li T'ang". Archives of the Chinese Art Society of America, Volume 12, 1958, pp. 48–60 (JSTOR)

paragraph: BULLET::::- Richard Barnhart: "Li T'ang (c.1050-c.1130) and the Kōtō-In Landscapes". The Burlington Magazine, volume 114, issue 830, May 1972 (special edition for Chinese landscape painting), pp. 304–311, 313-314 (JSTOR)

paragraph: BULLET::::- Dorothy Perkins: "Encyclopedia of China: History and Culture". Routledge, 2013, , p. 280 ()

paragraph: Section::::External links.

paragraph: BULLET::::- Landscapes Clear and Radiant: The Art of Wang Hui (1632-1717), an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Li Tang (see index)

paragraph: BULLET::::- Sung and Yuan paintings, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Li Tang (see list of paintings)

paragraph: BULLET::::- Brief biography

alias:
zi Xigu
Li T'ang

description: Chinese painter

wikidata_label: Li Tang

wikipedia_title: Li Tang (painter)


text: T.O.S.F.

text: Viterbo

text: commune

text: Papal States

text: recluse

text: papacy

text: mystical

text: Blessed Virgin Mary

text: Third Order of St. Francis

text: penance

text: Frederick II, Holy Roman Emperor

text: Third Order

text: religious habit

text: tunic

text: crucifix

text: Soriano nel Cimino

text: Vitorchiano

text: sorceress

text: pyre

text: Poor Clare

text: Monastery

text: dowry

text: tuberculosis

text: Pentalogy of Cantrell

text: canonization

text: Pope Innocent IV

text: parish church

text: Pope Alexander IV

text: Second Vatican Council

text: feast day

text: "La Macchina"

text: St. Rose of Viterbo Convent

text: La Crosse, Wisconsin

text: motherhouse

text: National Register of Historic Places

text: Viterbo University

text: Erik Ehn

text: Goshen College

text: SAINTE ROSE of VITERBO

text: ROSA da Viterbo, santa

categories: Women of medieval Italy,Italian Roman Catholic saints,Wonderworkers,Franciscan saints,Incorrupt saints,Marian visionaries,1251 deaths,Deaths from genetic disorders,Roman Catholic child saints,Italian children,1230s births,13th-century Christian saints,Members of the Third Order of Saint Francis,People from Viterbo

paragraph: Rose of Viterbo

paragraph: Rose of Viterbo, T.O.S.F. (c. 1233 – March 6, 1251), was a young woman born in Viterbo, then a contested commune of the Papal States. She spent her brief life as a recluse, who was outspoken in her support of the papacy. Otherwise leading an unremarkable life, she later became known for her mystical gifts of prophecy and having miraculous powers. She is honored as a saint by the Catholic Church.

paragraph: Section::::Life.

paragraph: The chronology of her life remains uncertain, as the acts of her canonization, the chief historical sources, record no dates. Most scholars agree she was probably born around the year 1233.

paragraph: Born of poor and pious parents, even as a child Rose had a great desire to pray and to aid the poor. She prayed much for the conversion of sinners. Rose was not yet 10 years old when the Blessed Virgin Mary is said to have instructed her to take the habit of the Third Order of St. Francis and to preach penance in Viterbo, at that time under the rule of Frederick II, Holy Roman Emperor.

paragraph: Rose was soon admitted to the Franciscan Third Order and adopted its religious habit, a simple tunic with a cord around her waist. While walking the streets with a crucifix in her hand, she would exhort others to be faithful to the Catholic Church. She lived a life of prayer, penance and solitude in her father's home.

paragraph: Every now and then she would emerge from her solitude to entreat the people to do penance. Her mission seems to have lasted for about two years. In January 1250, Viterbo, her native city, was then in revolt against the pope. When she was 12, she began preaching in the streets against Frederick's occupation of Viterbo. She and her family were exiled from the city and took refuge in Soriano nel Cimino. When the pope's side won in Viterbo, Rose was allowed to return.

paragraph: On December 5, 1250, Rose allegedly foretold the speedy death of the emperor, a prophecy fulfilled on December 13. Soon afterwards she went to Vitorchiano, whose inhabitants, according to surviving reports, were affected by a supposed sorceress. Rose secured the conversion of all, even of the sorceress, reportedly by standing unscathed for three hours in the flames of a burning pyre.

paragraph: Rose wished to enter the Poor Clare Monastery of St. Mary in the city, but was refused because of her poverty, as she was not able to provide the dowry required for admission. She accepted her rejection, nonetheless foretelling her admission to the monastery after her death.

paragraph: Rose died on March 6, 1251, in her father's home. It was long believed that Rose had died of tuberculosis. In 2010, however, researchers examining her remains concluded that she had died of complications due to Pentalogy of Cantrell.

paragraph: Section::::Veneration.

paragraph: The process of Rose's canonization was opened in the year of her death by Pope Innocent IV, but was not definitively undertaken until 1457. Originally buried at the parish church of Santa Maria in Poggio, in 1257 Pope Alexander IV ordered it moved to the monastery she had desired to enter, at which time it was renamed in her honor.

paragraph: When the liturgical calendar of the Roman Catholic Church was reformed after the Second Vatican Council, her feast day was transferred to the date of her death. September 4 is the date of the translation of her relics to the Monastery of St. Damian. It is this latter date on which her feast is celebrated in Viterbo and by the Franciscans.

paragraph: On September 3, the eve of the feast of St. Rose, the people of Viterbo follow the transportation of "La Macchina" ("the Machine of St. Rose") a massive tower, illuminated with 3,000 tiny electric lights and 880 candles, and topped off with a statue of her, which is carried for 1,200 metres through the darkened streets of the old medieval town on the backs of around 100 volunteers called "facchini". The tradition goes all the way back to September 4, 1258, when the body of the saint was exhumed and transported to the Monastery of Saint Damian; but it was not until 1664, following seven years of plague in the city, that a "machine" first appeared. In gratitude for having survived such a terrible pestilence the citizens voted to renew the veneration of their saint every year.

paragraph: St. Rose of Viterbo Convent, named for her, in La Crosse, Wisconsin, is the motherhouse of the Franciscan Sisters of Perpetual Adoration. The convent is listed on the National Register of Historic Places.

paragraph: Viterbo University is a Catholic, Franciscan university in the liberal arts tradition, founded by these Franciscan Sisters, also located in La Crosse, Wisconsin.

paragraph: Rose of Viterbo is one of the religious figures featured in the award-winning series of saint plays by Erik Ehn. The play celebrating her life premiered in October 2008 at Goshen College.

paragraph: Section::::Sources.

paragraph: BULLET::::- ANDREUCCI, Andrea Girolano. Notizie Critico-Istoriche Dell'Ammirabile S. Rosa Virgine Viterbese. Stamperie di Antorio di Rosse. Roma, 1750. (e-book).

paragraph: BULLET::::- BEAUFAYS, P. Ignace (O.F.M). Sante Rose de Viterbe: Propagandiste de L’A.C.. Bruxelles, Ed, du Chant D’Oiseau, 1937.

paragraph: BULLET::::- CENCI, Paolo. Rosa: Eroica, Giovanetta, Santa. Agnesotti, Viterbo, 1981.

paragraph: BULLET::::- CORETINI, Pietro. Istoria della Vita di S. Rosa, Virgine Viterbese. Stamperia di Giulio di Ginlii, Viterbo, 1702 (e-book)

paragraph: BULLET::::- DE KERVAL, Leon. Saint Rose: sa vie et son temps. Impr. Franciscaine Missionnaire (Vanves), Paris, 1896.

paragraph: BULLET::::- PELLEGRINI, P. Stefano. Santa Rosa e Suo Monastero. Grafiche Messaggero di S. Antonio. Padova, 1967.

paragraph: BULLET::::- Pizzi, Storia della Città di Viterbo. (Roma, 1887).

paragraph: BULLET::::- PIACENTINI, Ernesto (O.F.M). Il libro dei Miracoli di Santa Rosa da Viterbo. Union Printing S.p.A, Roma, 1991.

paragraph: BULLET::::- PLENS, Frei Urbano. Santa Rosa de Viterbo. Cadernos Franciscanos: ano VI, n. 1, fascículo 29. Belo Horizonte, 1980.

paragraph: Section::::External links.

paragraph: BULLET::::- SAINTE ROSE of VITERBO

paragraph: BULLET::::- ROSA da Viterbo, santa

description: Franciscan tertiary

wikidata_label: Rosa de Viterbo

wikipedia_title: Rose of Viterbo