text: photographer

text: Lille

text: Royal Photographic Society

text: Centre Georges Pompidou

text: Lille

text: Louis-Jean Delton

text: Robert Pauli

text: Constant Puyo

text: Robert Demachy

text: Linked Ring Brotherhood

text: London

text: Alfred Stieglitz

text: Edward Steichen

text: F. Holland Day

text: Frederick H. Evans

text: Gertrude Käsebier

text: bromoil process

text: Cubism

text: Futurism

text: Alvin Langdon Coburn

text: Paul Strand

text: Alfred Stieglitz

text: Camera Work

text: Buffalo

text: Cyrille Ménard

text: surrealism

text: James Ensor

text: de Stijl

text: Royal Photographic Society

text: London

text: San Diego, California

text: Samuel Wagstaff

text: Musée National d'Art Moderne

text: Centre Georges Pompidou

text: Museum of Photographic Arts

text: the Detroit Institute of Arts

text: Alliance française

text: French newspaper Le Figaro

text: LA Times

text: Village Voice

text: American Photographer

text: Cyrille Ménard

text: Fritz Loescher

text: J. Dudley Johnston

text: Centre Georges Pompidou

paragraph: Pierre Dubreuil

paragraph: Pierre Dubreuil (March 5, 1872 - January 9, 1944) was a French photographer, born in Lille, who spent his career in France and Belgium. As a pioneer of modernist photography, Dubreuil embraced innovative techniques and ideas that were celebrated, criticized, and at times, overlooked. Over the course of his career, which was interrupted by both World Wars, Dubreuil's work was shown at the Photo-Club de Paris, the Albright Gallery exhibition in Buffalo, New York, the Little Gallery of the "Amateur Photography Magazine" in London, and the Royal Photographic Society. In 1988, more than forty years after Dubreuil's death, photographer and collector Tom Jacobson revived interest in his work, seeking out long-forgotten and displaced works that culminated in an exhibition at the Musée d'Art Moderne, Centre Georges Pompidou in Paris (October 28, 1987 - January 5, 1988).

paragraph: Section::::Life and career.

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

paragraph: Pierre Dubreuil was born in a wealthy family, well established in the wallpaper trade. In 1888 he joined the Jesuit College of Saint-Joseph in Lille and started to take pictures with a half-plate camera aged sixteen. After serving for three years in the Saint-Omer Dragoons he started working with the photographer Louis-Jean Delton, who was specializing in horse subjects. In 1891 Pierre Dubreuil became a member of the Lille Photographic Society. There he met Robert Pauli who initiated him to the carbon and platinum printing techniques.

paragraph: Section::::Life and career.:Career.

paragraph: Section::::Life and career.:Career.:Early years (1896-1900).

paragraph: Dubreuil's recognition first came in 1896, when his "Sombre Clarté" ("Dark Clarity") was shown in Brussels. Subsequently, Dubreuil exhibited five prints at the Photo-Club de Paris, and by the turn of the century was internationally acclaimed, even upstaging Constant Puyo and Robert Demachy, the major figures of the Photo-Club de Paris. By the turn of the century, 39 of Dubreuil's works were featured in "Annuaire General et International de la Photographie," and German critic Fritz Loescher praised Dubreuil in "Photographische Mitteilungen." Few of Dubreuil's works from this period survived; they may have been destroyed by the photographer himself, or destroyed in bombings during the Second World War.

paragraph: Section::::Life and career.:Career.:Pre-war period (1900-1912).

paragraph: In 1903 Dubreuil was admitted as a member to the Linked Ring Brotherhood in London. This put Dubreuil among the ranks of Alfred Stieglitz, Edward Steichen, F. Holland Day, Frederick H. Evans, and Gertrude Käsebier. In 1904 he began using the bromoil process, which he favored until 1930. This versatile process gave Dubreuil the freedom to control contrast and darken and lighten portions of prints at will. Dubreuil took this new printing process to Paris, where he was influenced by Cubism and Futurism; he became one of the first photographers to explore Modernism in the medium, preceding Alvin Langdon Coburn's "The Octopus" (1912) and the Modernist works of Paul Strand.

paragraph: In 1910 Dubreuil sent Alfred Stieglitz twelve prints to be considered for "Camera Work". Though none were published, six of the prints were exhibited alongside works of other Pictorialists at the "International Exhibition of Pictorial Photography" at the Albright Gallery in Buffalo, New York. In "American Photography", critic F. Austin Lidbury wrote that the stand-out of the exhibition was "six extraordinarily interesting examples of Dubreuil's original, if distorted way of looking at things." In 1912 Dubreuil again implored Stieglitz, sending him five exceptional prints ("Notre Dame de Paris," "Eléphantaisie," "Grand Place Brussels," "Mightiness," and "Cascade, Place de la Concorde"). Although Stieglitz did not include the works in "Camera Work" (Stieglitz was known for not including more avant-garde and Modernist works in the publication), a 36-page article about Dubreuil by Cyrille Ménard appeared in "Photo-Magazine". In the same year, Dubreuil exhibited his first one-man show, of 64 prints, at the Little Gallery of the "Amateur Photographer Magazine" in London.

paragraph: Section::::Life and career.:Career.:Interwar period, Belgium (1924-1935).

paragraph: The First World War disrupted Dubreuil's career, family, and ties to Lille. By 1923, when Dubreuil re-emerged into the photo world, the "Golden Age" of Pictorialism was over. In 1924 Dubreuil moved to Brussels, Belgium, where he incorporated new influences into his work: Belgian surrealism, James Ensor, and the de Stijl movement in Holland. In Belgium, elements of fantasy and dreams, abstract design, and deceptions based on scale permeated Dubreuil's later work. Though Dubreuil's work, like the work of many of the Late Pictorialists, was at times derided, his originality and adventurous work led to his election as a member of the London Salon, the most highly regarded artistic photographic society at the time. By 1935, Dubreuil had attained such stature that the Royal Photographic Society in London sponsored a retrospective exhibition of some 150 works by the then 63-year-old photographer. After 1935, though producing no new work, Dubreuil remained active in the photographic world as president of the "Association Belge de Photographie et Cinematographie".

paragraph: Section::::Life and career.:Career.:Later years.

paragraph: By 1937 Dubreuil's health began to decline, and he produced little new work. Tragically, in 1943 he sold his negatives and archives to the Gevaert firm in Belgium, which were destroyed in bombings during the war. Following his wife's death that same year, Pierre Dubreuil died in obscurity in Grenoble, France, on January 9, 1944.

paragraph: Section::::Tom Jacobson's search for Dubreuil.:Rediscovering the photographer.

paragraph: Dubreuil's work was largely forgotten after his death in 1944 until Tom Jacobson, a San Diego, California-based collector, rediscovered his work. Dubreuil first caught Jacobson's attention in the late 1970s, when Jacobson saw works by Dubreuil in photography annuals such as "The American Annual of Photography" and "Photographs of the Year." Guided by his keen photographic eye, Jacobson continued to spot works by Dubreuil, gaining knowledge about the then obscure photographer. In 1980, Jacobson ventured to Belgium to investigate what he considered to be a photographic genius. Through the trials and tribulations of knowing neither French nor Flemish, Jacobson eventually came into contact with the "Association Belge de Photographie et Cinematographie".

paragraph: Section::::Tom Jacobson's search for Dubreuil.:Finding Dubreuil's lost work.

paragraph: Through a set of coincidences Jacobson acquired his first Dubreuil print in London, and went on to pursue newly uncovered (thanks to his insistence) works found in the Belgian Association's collection. Through years of unrelenting research and insistence, Jacobson was able to collect major remaining works by Dubreuil, and was even pursued by Samuel Wagstaff, who at one point dismissed Dubreuil, only to recognize his mistake later. Jacobson, who had discovered Dubreuil through an intuitive photographic eye, had succeeded in reintroducing the lost photographer; in October 1987, Jacobson's exhibition of Dubreuil opened at the prestigious Musée National d'Art Moderne at the Centre Georges Pompidou. The show amassed critical acclaim, and travelled to the Museum of Photographic Arts in San Diego, the Detroit Institute of Arts, and the Alliance française in New York. Jacobson's book "Pierre Dubreuil: Photographs 1896-1935" was published in conjunction with the Pompidou show.

paragraph: Section::::Tom Jacobson's search for Dubreuil.:Acclaim for the Dubreuil Exhibition.

paragraph: French newspaper Le Figaro hailed the 1987 exhibition as "the dazzling revelation of an unknown talent," noting "a vision which is much more exciting than so many of the glories that encumber the histories of photography." The article commended Jacobson for having "discovered this treasure which was believed to have been lost."

paragraph: Suszanne Muchnic of the LA Times recognized Jacobson's seven years researching Dubreuil, calling this "a major contribution to the field."

paragraph: Vince Aletti of Village Voice described how "Virtually all of Dubreuil's surviving work, salvaged from oblivion by curator Tom Jacobson, floods this small room with charm and brilliance."

paragraph: Notably, Vicki Goldberg declared the historical significance of the rediscovery of Dubreuil in American Photographer: "Dubreuil's daring pictorialist work may throw a wrench into the history of 20th century photography."

paragraph: Section::::Philosophy, Quotes.

paragraph: Section::::Philosophy, Quotes.:Quotes by Dubreuil.

paragraph: "Chance is the enemy of the photographer"

paragraph: "Every work should be the expression of an idea [...] This must never be left to chance ... I plan almost all of my works beforehand."

paragraph: "Why should the inspiration that exudes from an artist's manipulation of the hairs of a brush be any different from that of the artist who bends at will the rays of light?"

paragraph: "In photography, a much greater importance should be given to the intellectual aspect of the work. Indeed, it should become the main artistic factor. Isn't it the intellectual work that is responsible for creating the feelings we experience in the presence of a masterpiece? Isn't it thanks to this that an intense communion between author and viewer can be achieved?"

paragraph: Section::::Philosophy, Quotes.:Quotes about Dubreuil.

paragraph: "Some say he is a fanatic, an eccentric; others insist that he is one of the rare photographers who have ideas that will last. Such a contradiction should not surprise us; it has always been associated with those whose names have become famous in literature and the arts ... Yes, Pierre Dubreuil is the subject of violent discussions in our country. He knows this better than anyone; it does not discourage him ... Let time do her work ... Where necessary time honors those stars that are too modest or unknown and drowns the glorious, arrogant ephemera in shadow and oblivion" - Cyrille Ménard

paragraph: "What makes his pictures so outstanding can be summed up in a few words ... Dubreuil's pictures are 'seen,' seen through the eyes of an artist." - Fritz Loescher

paragraph: "To the present-day photographer, the name of Pierre Dubreuil ... stands for one of the extremists of photography ... he is one of the three to whose influence and example the development of the 'New Photography' is to be traced, the others being Malcolm Arbutnot in England and Paul Strand in America." - J. Dudley Johnston

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Ribemont Francis et Daum Patrick (dir.), "La Photographie pictorialiste en Europe", catalog of the exhibition (from October 19, 2005 to January 15, 2006, Musée des Beaux-Arts de Rennes), Le Point du Jour Editeur and Musée des Beaux-Arts de Rennes, 2005.

paragraph: BULLET::::- Cyrille Ménard, "Les Maîtres de la Photographie," "Photo Magazine," no. 18, 1912.

paragraph: BULLET::::- Tom Jacobson, "Pierre Dubreuil", publication accompanying exhibition (Musée d'Art Moderne, Centre Georges Pompidou). Dubroni Press, San Diego, CA. 1987.

paragraph: BULLET::::- Tom Jacobson, "Pierre Dubreuil's Great Photographic Hoax" (2015)

description: French photographer (1872-1944)

wikidata_label: Pierre Dubreuil

wikipedia_title: Pierre Dubreuil


text: FIA World Endurance Championship

text: Porsche

text: Lyon

text: karting

text: Jon Lancaster

text: single-seater

text: Formula Campus by Renault and Elf

text: the 2007 season

text: French Formula Renault 2.0

text: Graff Racing

text: Porsche Carrera Cup France

text: Magny-Cours

text: Nogaro

text: Le Castellet

text: Circuit de Lédenon

text: Frédéric Makowiecki

text: Mühlner Motorsport

text: Oschersleben

text: 2010 ADAC GT Masters season

text: Porsche Supercup

text: Porsche Carrera Cup Germany

text: Monza

text: Norisring

text: Supercup

text: German

text: René Rast

text: Hungaroring

text: 24 Hours Nürburgring

text: Nordschleife

text: Supercup

text: German

text: ART Grand Prix

text: Blancpain Endurance Series

text: McLaren MP4-12C GT3

text: Kevin Korjus

text: Andy Soucek

text: Laurens Vanthoor

text: OAK Racing

text: 24 Hours of Le Mans

text: Blancpain Endurance Series

text: McLaren 650S GT3

text: Rob Bell

text: Shane van Gisbergen

text: Blancpain Sprint Series

text: Pirelli World Challenge

text: K-Pax Racing

text: 24 Hours of Daytona

text: 6 Hours of Spa-Francorchamps

categories: Blancpain Endurance Series drivers,Porsche Supercup drivers,American Le Mans Series drivers,1988 births,24 Hours of Spa drivers,ADAC GT Masters drivers,Living people,Rolex Sports Car Series drivers,24 Hours of Le Mans drivers,French racing drivers,French Formula Renault 2.0 drivers,Sportspeople from Lyon,International GT Open drivers,United SportsCar Championship drivers,French F4 Championship drivers,24 Hours of Daytona drivers

paragraph: Kévin Estre

paragraph: Kévin Estre (born 28 October 1988) is a French professional racing driver. He is currently competing in the FIA World Endurance Championship for Porsche in the GTE PRO class.

paragraph: Section::::Career.

paragraph: Section::::Career.:Karting.

paragraph: Born in Lyon, Estre began his racing career in karting, contesting the 2001 French Cadet Championship and taking his first title. In 2004, he won the European ICA Championship, beating Jon Lancaster in the title competition.

paragraph: Section::::Career.:Formula Renault.

paragraph: In 2006, Estre began his graduation to single-seater racing by running in Formula Campus by Renault and Elf which he won comfortably at the first attempt, taking six wins and a total of twelve podium finishes from thirteen races.

paragraph: For the 2007 season, Estre graduated into the French Formula Renault 2.0 championship for Graff Racing. He finished ninth, taking nine point-scoring finishes from thirteen races.

paragraph: Section::::Career.:Sportscar racing.

paragraph: Estre decided to switch to sportscars in 2008, continuing his collaboration with Graff Racing into the Porsche Carrera Cup France. He won a race at the final round of the season at Magny-Cours and scored another three podiums, finishing fifth overall.

paragraph: He remained in the series for 2009, but switched to Sofrev — ASP. This time he added race victories at Nogaro, Le Castellet and Circuit de Lédenon, improving to fourth position in the series standings. As well as this, Estre competed in the Le Castellet round of the 2009 FIA GT3 European Championship season with MP Racing.

paragraph: In 2010, he continued his participation in the Porsche Carrera Cup France with Sofrev — ASP. He again scored five wins, with a total of twelve podium finishes. This allowed him to enter the title battle with Frédéric Makowiecki, but Estre finished the season as runner-up to Makowiecki, by two points. Estre also raced with Mühlner Motorsport in the opening two rounds of the 2010 FIA GT3 European Championship season and the season-opening Oschersleben round of the 2010 ADAC GT Masters season.

paragraph: In 2011, Estre remained in the Porsche Carrera Cup France for a fourth successive year, but he joined the AS Events team. He dominated the season, amassing ten wins and took the championship title with an eventual margin of 113 points over his closest championship rival, Sylvain Noël. Additionally he made his début in both the Porsche Supercup and the Porsche Carrera Cup Germany with Attempto Racing. In the Supercup he raced on a full-time basis, finishing seventh with a win at Monza. In the German series, he only competed at the Norisring.

paragraph: For 2012, Estre decided to concentrate on the Supercup and the German series, continuing with Attempto Racing. In the Supercup, he finished as runner-up to René Rast, with one win at the Hungaroring. In the German series, he finished fourth, winning the 24 Hours Nürburgring support race held on the Nordschleife. He qualified on pole position for the 24 Hours with a laptime of 8:10.9, averaging 186.1 km/h.

paragraph: Estre also had a part-time schedule in the French series, contesting five races with Nourry Competition.

paragraph: In 2013, he prolonged his collaboration with Attempto Racing in the Supercup and German series. He scored three podium finishes to end the season fourth in the Supercup, while in the German series, he dominated from the start of the season, collecting eight race wins in seventeen races to take the championship title.

paragraph: In 2014, Estre became a McLaren GT factory driver, joining the ART Grand Prix squad in the Blancpain Endurance Series. He competed in the No. 99 McLaren MP4-12C GT3 with Kevin Korjus and Andy Soucek. The crew achieved two podiums, finishing the season in eighth position in the Pro Cup standings.

paragraph: In 2015, Estre he joined Chris Cumming and Laurens Vanthoor in OAK Racing in the LMP2 class of the 24 Hours of Le Mans. Also, he will stay in the Blancpain Endurance Series, but will switch to Von Ryan Racing. He will race in the No. 58 McLaren 650S GT3 with Rob Bell and Shane van Gisbergen. He also competes for McLaren at the Blancpain Sprint Series for Attempto Racing, partnering with Bell.

paragraph: In addition, the Frenchman competed at the Pirelli World Challenge, where he drove a K-Pax Racing McLaren to fifth place in the GT drivers standings. Also, he drove a Porsche 911 GT America at the 24 Hours of Daytona for Park Place Motorsports, and competed for the Porsche factory team at the 6 Hours of Spa-Francorchamps on a Porsche 911 RSR.

paragraph: Section::::Racing record.

paragraph: Section::::Racing record.:Career summary.

paragraph: † Estre was a guest driver, therefore ineligible to score points.

description: French racing driver

wikidata_label: Kévin Estre

wikipedia_title: Kévin Estre


text:
upright
electric bass
psychobilly
rockabilly
Reverend Horton Heat
slap bass
Didi Beck
Gallien-Krueger
Jello Biafra
Jimbo Wallace on Twitter
Google image gallery for Wallace

categories: American double-bassists,21st-century double-bassists,Slap bassists (double bass),Male double-bassists,American bass guitarists,Living people,Year of birth missing (living people)

paragraph: Jimbo Wallace

paragraph: Jimbo Wallace is an upright and electric bass player, vocalist, and songwriter in the psychobilly and rockabilly genres. He has played bass in the Reverend Horton Heat band since 1989. He is the most-tattooed member of the band.

paragraph: He plays using the percussive rockabilly/psychobilly bass technique known as slap bass, in which the strings are pulled away from the fingerboard until they snap back, and the strings are rhythmically slapped against the fingerboard. The German rockabilly bassist Didi Beck cites Wallace as one of his influences.

paragraph: Concert reviews take note of the stunts that Wallace does with the bass, such as throwing it into the air or playing it on its side while Heath stands on top of it and plays guitar.

paragraph: He has a signature tiger-striped upright bass manufactured by King Double Basses. He has been an endorser for Gallien-Krueger bass amplifiers. On stage, he uses a 4x10" cabinet and a 1x15" cabinet with a GK amp.

paragraph: Section::::Discography.

paragraph: This discography is from AllMusic

paragraph: BULLET::::- 2013; Discovery Vaults; The Reverend Horton Heat; Bass (Electric), Bass (Upright), Vocals (Background)

paragraph: BULLET::::- 2013; White People & the Damage Done; Jello Biafra & the Guantanamo School of Medicine; upright Slap Bass

paragraph: BULLET::::- 2012; 25 to Life; The Reverend Horton Heat; Composer

paragraph: BULLET::::- 2009; Laughin' & Cryin' with the Reverend Horton Heat; The Reverend Horton Heat; Bass (Upright)

paragraph: BULLET::::- 2008; Psychobilly Christmas; Bass (Upright)

paragraph: BULLET::::- 2006; 20th Century Masters - The Millennium Collection: The Best of the Reverend Horton Heat; The Reverend Horton Heat; Composer, Guitar (Bass), Main Personnel, Vocals (Background)

paragraph: BULLET::::- 2005; We Three Kings; The Reverend Horton Heat; Bass (Upright), Guitar, Main Personnel, Vocals (Background)

paragraph: BULLET::::- 2004; Revival; The Reverend Horton Heat; Bass, Guitar (Bass), Member of Attributed Artist

paragraph: BULLET::::- 2002; Lucky 7; The Reverend Horton Heat; Bass (Electric), Bass (Upright), Vocals (Background)

paragraph: BULLET::::- 2000; Spend a Night in the Box; The Reverend Horton Heat; Bass, Vocals

paragraph: BULLET::::- 1999; Holy Roller; The Reverend Horton Heat; Bass, Composer, Vocals

paragraph: BULLET::::- 1999; IFC: In Your Ear, Vol. 1; Composer

paragraph: BULLET::::- 1999; Mustache; Mustache; Bass

paragraph: BULLET::::- 1999; Rebel Heart, Vol. 6; Gene Vincent; Bass

paragraph: BULLET::::- 1998; Space Bunnies Must Die!; Composer

paragraph: BULLET::::- 1998; Space Heater; The Reverend Horton Heat; Bass, Composer

paragraph: BULLET::::- 1996; It's Martini Time; The Reverend Horton Heat; Composer

paragraph: BULLET::::- 1996; Rebel Heart, Vol. 3; Gene Vincent; Bass

paragraph: BULLET::::- 1994; Liquor in the Front; The Reverend Horton Heat; Composer

paragraph: BULLET::::- 1993; The Full Custom Gospel Sounds; The Reverend Horton Heat; Bass, Bass (Upright), Vocals

paragraph: BULLET::::- 1990; Smoke 'Em If You Got 'Em; The Reverend Horton Heat; Bass, Bass (Upright), Composer, Vocals

paragraph: Section::::External links.

paragraph: BULLET::::- Jimbo Wallace on Twitter

paragraph: BULLET::::- Google image gallery for Wallace

wikidata_label: Jimbo Wallace

wikipedia_title: Jimbo Wallace


text: United States Army

text: Medal of Honor

text: Vietnam War

text: Spokane, Washington

text: Sergeant First Class

text: platoon sergeant

text: 8th Infantry Regiment

text: 4th Infantry Division

text: Pleiku Province

text: Republic of Vietnam

text: reconnaissance

text: Cambodia

text: artillery

text: helicopter gunship

text: smoke grenade

text: tracer ammunition

text: hand grenade

categories: 1934 births,United States Army Medal of Honor recipients,American military personnel killed in the Vietnam War,Military personnel from Spokane, Washington,United States Army soldiers,1967 deaths

paragraph: Bruce Alan Grandstaff

paragraph: Bruce Alan Grandstaff (June 2, 1934 – May 18, 1967) was a United States Army soldier and a recipient of the United States military's highest decoration—the Medal of Honor—for his actions in the Vietnam War.

paragraph: Section::::Biography.

paragraph: Grandstaff joined the Army from his birth city of Spokane, Washington in 1954, and by May 18, 1967 was a Sergeant First Class serving as a platoon sergeant in Company B, 1st Battalion, 8th Infantry Regiment, 4th Infantry Division. During a firefight on that day, in Pleiku Province, Republic of Vietnam, Grandstaff showed conspicuous leadership before being fatally wounded.

paragraph: Grandstaff, aged 32 at his death, was buried at Greenwood Memorial Terrace in his hometown of Spokane, Washington.

paragraph: Section::::Medal of Honor citation.

paragraph: Platoon Sergeant Grandstaff's official Medal of Honor citation reads:

paragraph: For conspicuous gallantry and intrepidity in action at the risk of his life above and beyond the call of duty. P/Sgt. Grandstaff distinguished himself while leading the Weapons Platoon, Company B, on a reconnaissance mission near the Cambodian border. His platoon was advancing through intermittent enemy contact when it was struck by heavy small arms and automatic weapons fire from 3 sides surrounded by nearly 700 enemy forces. As he established a defensive perimeter, P/Sgt. Grandstaff noted that several of his men had been struck down. He raced 30 meters through the intense fire to aid them. Denied freedom to maneuver his unit by the intensity of the enemy onslaught, he adjusted artillery to within 45 meters of his position. When helicopter gunships arrived, he crawled outside the defensive position to mark the location with smoke grenades. Realizing his first marker was probably ineffective, he crawled to another location and threw his last smoke grenade but the smoke did not penetrate the triple canopy jungle foliage. Seriously wounded in the leg during this effort he returned to his radio and, refusing medical aid, adjusted the artillery even closer as the enemy advanced on his position. Recognizing the need for additional firepower, he again braved the enemy fusillade, crawled to the edge of his position and fired several magazines of tracer ammunition through the jungle canopy. He succeeded in designating the location to the gunships but this action again drew enemy fire and he was wounded in the other leg. Now enduring intense pain and bleeding profusely, he crawled to within 10 meters of an enemy machine gun which had caused many casualties among his men. He destroyed the position with hand grenades but received additional wounds. Rallying his remaining men to withstand the enemy assaults, he realized his position was being overrun and called for artillery directly on his location. The survivors recalled Grandstaff communicating ferociously back and forth with the enemy in close range combat before being mortally wounded by a rocket. The magnitude of his actions gave notice to Companies A and C of the large presence of enemy numbers in their midst. A rescue force the next day confirmed that Grandstaff’s platoon had suffered 22 dead and eight wounded. The survivors had played dead when the North Vietnamese regulars searched their bodies for souvenirs and weapons. Private First Class Clifford A. Roundtree (b. 1947) said that he lay with his face in the mud faking death as enemy soldiers emptied his pockets. Private First Class Roundtree and other survivors spoke of Platoon Sergeant Grandstaff as an inspiration and fearless leader. He was older than his troops and a father figure to them and in battle a soldier who refused to give up. Survivors attested to the indomitable spirit and exceptional courage of this outstanding combat leader who inspired his men to fight courageously against overwhelming odds and cost the enemy heavy casualties. P/Sgt. Grandstaff's selfless gallantry, above and beyond the call of duty, are in the highest traditions of the U.S. Army and reflect great credit upon himself and the Armed Forces of this country.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients for the Vietnam War

wikidata_label: Bruce Alan Grandstaff

wikipedia_title: Bruce Alan Grandstaff


text:
monarch
Zulu Kingdom
Melmoth
KwaZulu-Natal Province
ibutho lempi
Dingiswayo
Mthethwa empire
Ndwandwe
Mfecane
English
Senzangakhona
Sigujana
Dingiswayo
Mthethwa empire
Zwide
Ndwandwe
Zulu Civil War
Sangoma
Phongola
KwaZulu-Natal
Thukela River
Bulawayo
Qwabe
patronage
Dingiswayo
Mthethwa
Zulu
Zwide
Ndwandwe
Battle of Gqokli Hill
Mhlatuze
Mvuzane
kraal
Soshangane
Shangaan
Sikhunyane
Henry Francis Fynn
account of Nathaniel Isaacs
Dingane
Mhlangana
assassinate
Port Natal
Durban
iNduna
monument
Stanger
Voortrekkers
Mpande
Battle of Isandlwana
Zulus
British Army
assegai
iklwa
Nguni shield
apprentice
ration
Bantu
Age grade
regiments
impi
pinned
flank
encirclement
Voortrekker
Battle of Blood River
Battle of Isandlwana
Battle of Hlobane
Kambula
reorganised Roman legions under Marius
Nathaniel Isaacs
Henry Francis Fynn
James Stuart
University of KwaZulu-Natal
Pietermaritzburg
Julian Cobbing
Rhodes University
Grahamstown
Mfecane
impi
Mfecane
Ndwandwe
impis
Mzilikazi
Zimbabwe
Soshangane
Mozambique
Mfecane
Julian Cobbing
William Rubinstein
speech impediment
protean
uShaka Marine World
theme park
King Shaka International Airport
Durban
FIFA
Shaka Zulu
SABC
Henry Cele
Civilization
Civilization II
Civilization III
Holocaust
Sinister
Epic Rap Battles of History
Julius Caesar
DeStorm Power
Deadliest Warrior
William Wallace
Steven Barnes
Lion's Blood
alternate history
Pavement (band)
F.Stokes
Run The Jewels
Shaka Zulu
isicathamiya
mbube
Ladysmith Black Mambazo
Death Grips
Shaka: Zulu chieftain
The History of Shaka
Statue proposal
"Shaka Zulu", Carpe Noctem

categories: 1828 deaths,1787 births,1828 crimes,19th-century murdered monarchs,People from KwaZulu-Natal,Zulu kings,History of KwaZulu-Natal,19th-century monarchs in Africa

paragraph: Shaka

paragraph: Shaka kaSenzangakhona (c. 1787 – 1828), also known as Shaka Zulu (also spelled Tshaka or Chaka; ), was one of the most influential monarchs of the Zulu Kingdom.

paragraph: He was born in the lunar month of "uNtulikazi" (July) in the year of 1787 near present-day Melmoth, KwaZulu-Natal Province. Due to persecution as a result of his illegitimacy, Shaka spent his childhood in his mother's settlements where he was initiated into an "ibutho lempi" (fighting unit). In his early days, Shaka served as a warrior under the sway of Dingiswayo.

paragraph: Shaka went on to further refine the "ibutho" system used by Dingiswayo and others and, with the Mthethwa empire's support over the next several years, forged alliances with his smaller neighbours, to counter the growing threat from Ndwandwe raids from the north. The initial Zulu maneuvers were primarily defensive in nature, as Shaka preferred to apply pressure diplomatically, aided by an occasional strategic assassination. His changes to local society built on existing structures. Although he preferred social and propagandistic political methods, he also engaged in a number of battles, as the Zulu sources make clear. In turn, he was ultimately assassinated by his own half brothers, Dingane and Mhlangana. Shaka's reign coincided with the start of the Mfecane, English "Upheaval" or "The Crushing", a period of widespread destruction and warfare in southern Africa between 1815 and about 1840 that depopulated the region. His role in the Mfecane is highly controversial.

paragraph: Section::::Successor to Senzangakhona.

paragraph: When Senzangakhona (Shaka's father) died in 1816, Shaka's younger half-brother Sigujana assumed power as the legitimate heir to the Zulu chiefdom. Sigujana's reign was short, however, as Dingiswayo, anxious to confirm his authority, lent Shaka a regiment so that he was able to put Sigujana to death, launching a relatively bloodless coup that was substantially accepted by the Zulu. Thus Shaka became Chief of the Zulu clan, although he remained a vassal of the Mthethwa empire until Dingiswayo's death in battle a year later at the hands of Zwide, powerful chief of the Ndwandwe (Nxumalo) nation. When the Mthethwa forces were defeated and scattered temporarily, the power vacuum was filled by Shaka. He reformed the remnants of the Mthethwa and other regional tribes and later defeated Zwide in the Zulu Civil War of 1819–20.

paragraph: When Dingiswayo was murdered by Zwide, Shaka sought to avenge his death. At some point, Zwide barely escaped Shaka, though the exact details are not known. In that encounter, Zwide's mother Ntombazi, a Sangoma (Zulu seer or shaman), was killed by Shaka. Shaka chose a particularly gruesome revenge on her, locking her in a house and placing jackals or hyenas inside: they devoured her and, in the morning, Shaka burned the house to the ground. Despite carrying out this revenge, Shaka continued his pursuit of Zwide. It was not until around 1825 that the two military leaders met, near Phongola, in what would be their final meeting. Phongola is near the present day border of KwaZulu-Natal, a province in South Africa. Shaka was victorious in battle, although his forces sustained heavy casualties, which included his head military commander, Umgobhozi Ovela Entabeni.

paragraph: In the initial years, Shaka had neither the influence nor reputation to compel any but the smallest of groups to join him, and upon Dingiswayo's death, Shaka moved southwards across the Thukela River, establishing his capital Bulawayo in Qwabe territory; he never did move back into the traditional Zulu heartland. In Qwabe, Shaka may have intervened in an existing succession dispute to help his own choice, Nqetho, into power; Nqetho then ruled as a proxy chieftain for Shaka.

paragraph: Section::::Expansion of power and conflict with Zwide.

paragraph: As Shaka became more respected by his people, he was able to spread his ideas with greater ease. Because of his background as a soldier, Shaka taught the Zulus that the most effective way of becoming powerful quickly was by conquering and controlling other tribes. His teachings greatly influenced the social outlook of the Zulu people. The Zulu tribe soon developed a warrior outlook, which Shaka turned to his advantage.

paragraph: Shaka's hegemony was primarily based on military might, smashing rivals and incorporating scattered remnants into his own army. He supplemented this with a mixture of diplomacy and patronage, incorporating friendly chieftains, including Zihlandlo of the Mkhize, Jobe of the Sithole, and Mathubane of the Thuli. These peoples were never defeated in battle by the Zulu; they did not have to be. Shaka won them over by subtler tactics, such as patronage and reward. As for the ruling Qwabe, they began re-inventing their genealogies to give the impression that Qwabe and Zulu were closely related in the past. In this way a greater sense of cohesion was created, though it never became complete, as subsequent civil wars attest.

paragraph: Shaka still recognised Dingiswayo and his larger Mthethwa clan as overlord after he returned to the Zulu but, some years later, Dingiswayo was ambushed by Zwide's amaNdwandwe and killed. There is no evidence to suggest that Shaka betrayed Dingiswayo. Indeed, the core Zulu had to retreat before several Ndwandwe incursions; the Ndwandwe was clearly the most aggressive grouping in the sub-region.

paragraph: Shaka was able to form an alliance with the leaderless Mthethwa clan and was able to establish himself amongst the Qwabe, after Phakathwayo was overthrown with relative ease. With Qwabe, Hlubi and Mkhize support, Shaka was finally able to summon a force capable of resisting the Ndwandwe (of the Nxumalo clan). Historian Donald Morris states that Shaka's first major battle against Zwide, of the Ndwandwe, was the Battle of Gqokli Hill, on the Mfolozi river. Shaka's troops maintained a strong position on the crest of the hill. A frontal assault by their opponents failed to dislodge them, and Shaka sealed the victory by sending his reserve forces in a sweep around the hill to attack the enemy's rear. Losses were high overall but the efficiency of the new Shakan innovations was proved. It is probable that, over time, the Zulu were able to hone and improve their encirclement tactics.

paragraph: Another decisive fight eventually took place on the Mhlatuze river, at the confluence with the Mvuzane stream. In a two-day running battle, the Zulu inflicted a resounding defeat on their opponents. Shaka then led a fresh reserve some to the royal kraal of Zwide, ruler of the Ndwandwe, and destroyed it. Zwide himself escaped with a handful of followers before falling foul of a chieftainess named Mjanji, ruler of a baBelu clan. (He died in mysterious circumstances soon afterwards.) Zwide's general Soshangane (of the Shangaan) moved north towards what is now Mozambique to inflict further damage on less resistant foes and take advantage of slaving opportunities, obliging Portuguese traders to give tribute. Shaka later had to contend again with Zwide's son Sikhunyane in 1826.

paragraph: Shaka granted permission to Europeans to enter Zulu territory on rare occasions. In the mid-1820s Henry Francis Fynn provided medical treatment to the king after an assassination attempt by a rival tribe member hidden in a crowd (see account of Nathaniel Isaacs). To show his gratitude, Shaka permitted European settlers to enter and operate in the Zulu kingdom. This would open the door for future British incursions into the Zulu kingdom that were not so peaceful. Shaka observed several demonstrations of European technology and knowledge, but he held that the Zulu way was superior to that of the foreigners.

paragraph: Section::::Death and succession.

paragraph: Dingane and Mhlangana, Shaka's half-brothers, appear to have made at least two attempts to assassinate Shaka before they succeeded, with perhaps support from Mpondo elements and some disaffected iziYendane people. While the British colonialists considered his regime to be a future threat, allegations that European traders wished him dead were problematic given that Shaka had granted concessions to Europeans prior to his death, including the right to settle at Port Natal (now Durban). Shaka had made enough enemies among his own people to hasten his demise. It came relatively quickly after the death of his mother Nandi in October 1827, and the devastation caused by Shaka's subsequent erratic behavior. According to Donald Morris, Shaka ordered that no crops should be planted during the following year of mourning, no milk (the basis of the Zulu diet at the time) was to be used, and any woman who became pregnant was to be killed along with her husband. At least 7,000 people who were deemed to be insufficiently grief-stricken were executed, although the killing was not restricted to humans: cows were slaughtered so that their calves would know what losing a mother felt like.

paragraph: The Zulu monarch was killed by three assassins sometime in 1828; September is the most frequently cited date, when almost all available Zulu manpower had been sent on yet another mass sweep to the north. This left the royal kraal critically lacking in security. It was all the conspirators needed—they being Shaka's half-brothers, Dingane and Mhlangana, and an iNduna called Mbopa. A diversion was created by Mbopa, and Dingane and Mhlangana struck the fatal blows. Shaka's corpse was dumped by his assassins in an empty grain pit, which was then filled with stones and mud. The exact location is unknown. A monument was built at one alleged site. Historian Donald Morris holds that the true site is somewhere on Couper Street in the village of Stanger, South Africa.

paragraph: Shaka's half-brother Dingane assumed power and embarked on an extensive purge of pro-Shaka elements and chieftains, running over several years, in order to secure his position. The initial problem Dingane faced was maintaining the loyalty of the Zulu fighting regiments, or amabutho. He addressed this by allowing them to marry and set up homesteads (which was forbidden during Shaka's rule) and they also received cattle from Dingane. Loyalty was also maintained through fear, as anyone who was suspected of rivaling Dingane was killed. He set up his main residence at Mmungungundlovo and established his authority over the Zulu kingdom. Dingane ruled for some twelve years, during which time he fought, disastrously, against the Voortrekkers, and against another half-brother, Mpande, who, with Boer and British support, took over the Zulu leadership in 1840, ruling for some 30 years. At the Battle of Isandlwana in 1879, the Zulus would become one of the few African peoples to inflict a defeat on the British Army.

paragraph: Section::::Social and military revolution.

paragraph: Some older histories have doubted the military and social innovations customarily attributed to Shaka, denying them outright, or attributing them variously to European influences. More modern researchers argue that such explanations fall short, and that the general Zulu culture, which included other tribes and clans, contained a number of practices that Shaka could have drawn on to fulfill his objectives, whether in raiding, conquest or hegemony. Some of these practices are shown below.

paragraph: Section::::Social and military revolution.:Weapons changes.

paragraph: Shaka is often said to have been dissatisfied with the long throwing assegai, and is credited with introducing a new variant of the weapon: the "iklwa", a short stabbing spear with a long, broad, and indeed sword-like, spearhead.

paragraph: Though Shaka probably did not invent the "iklwa", according to Zulu scholar John Laband, the leader did insist that his warriors train with the weapon, which gave them a "terrifying advantage over opponents who clung to the traditional practice of throwing their spears and avoiding hand-to-hand conflict." The throwing spear was not discarded but used as an initial missile weapon before close contact with the enemy, when the shorter stabbing spear was used in hand-to-hand combat.

paragraph: It is also supposed that Shaka introduced a larger, heavier version of the Nguni shield. Furthermore, it is believed that he taught his warriors how to use the shield's left side to hook the enemy's shield to the right, exposing the enemy's ribs for a fatal spear stab. In Shaka's time, these cowhide shields were supplied by the king, and they remained the king's property. Different coloured shields distinguished different "amabutho" within Shaka's army. Some had black shields, others used white shields with black spots, and some had white shields with brown spots, while others used pure brown or white shields.

paragraph: Section::::Social and military revolution.:Mobility of the army.

paragraph: The story that sandals were discarded to toughen the feet of Zulu warriors has been noted in various military accounts such as "The Washing of the Spears," "Like Lions They Fought," and "Anatomy of the Zulu Army." Implementation was typically blunt. Those who objected to going without sandals were simply killed. Shaka drilled his troops frequently, in forced marches that sometimes covered more than a day in a fast trot over hot, rocky terrain. He also drilled the troops to carry out encirclement tactics.

paragraph: Historian John Laband dismisses these stories as myth, writing: "What are we to make, then, of [European trader Henry Francis] Fynn's statement that once the Zulu army reached hard and stony ground in 1826, Shaka ordered sandals of ox-hide to be made for himself?"

paragraph: Laband also dismissed the idea of a march in a single day as ridiculous. He further claims that even though these stories have been repeated by "astonished and admiring white commentators," the Zulu army covered "no more than a day, and usually went only about ." Furthermore, Zulus under Shaka sometimes advanced more slowly. They spent two whole days recuperating in one instance, and on another they rested for a day and two nights before pursuing their enemy. Several other historians of the Zulu, and the Zulu military system, however, affirm the mobility rate of up to 50 miles per day.

paragraph: Section::::Social and military revolution.:Logistic support by youths.

paragraph: Boys and girls aged six and over joined Shaka's force as apprentice warriors ("udibi") and served as carriers of rations, supplies like cooking pots and sleeping mats, and extra weapons until they joined the main ranks. It is sometimes held that such support was used more for very light forces designed to extract tribute in cattle and slaves from neighbouring groups. Nevertheless, the concept of "light" forces is questionable. The fast-moving Zulu raiding party, or "ibutho lempi," on a mission invariably travelled light, driving cattle as provisions on the hoof, and were not weighed down with heavy weapons and supply packs. The herdboy logistic structure was deployed in support of these relatively short-term operations, and was easily adaptable to large or small expeditions.

paragraph: Section::::Social and military revolution.:Age-grade regimental system.

paragraph: Age-grade groupings of various sorts were common in the Bantu culture of the day, and indeed are still important in much of Africa. Age grades were responsible for a variety of activities, from guarding the camp, to cattle herding, to certain rituals and ceremonies. Shaka organised various grades into regiments, and quartered them in special military kraals, with regiments having their own distinctive names and insignia. The regimental system clearly built on existing tribal cultural elements that could be adapted and shaped to fit an expansionist agenda.

paragraph: Section::::Social and military revolution.:"Bull horn" formation.

paragraph: Most historians credit Shaka with initial development of the famous "bull horn" formation." It was composed of three elements:

paragraph: BULLET::::1. The main force, the "chest," closed with the enemy impi and pinned it in position, engaging in melee combat. The warriors who comprised the "chest" were senior veterans.

paragraph: BULLET::::2. While the enemy impi was pinned by the "chest," the "horns" would flank the Impi from both sides and encircle it; in conjunction with the "chest" they would then destroy the trapped force. The warriors who comprised the "horns" were young and fast juniors.

paragraph: BULLET::::3. The "loins," a large reserve, was hidden, seated, behind the "chest" with their backs to the battle, for the sake of them not losing any confidence. The "loins" would be committed wherever the enemy impi threatened to break out of the encirclement.

paragraph: Section::::Social and military revolution.:Organization and leadership of the Zulu forces.

paragraph: The hosts were generally partitioned into three levels: regiments, corps of several regiments, and "armies" or bigger formations, although the Zulu did not use these terms in the modern sense. Any grouping of men on a mission could collectively be called an impi, whether a raiding party of 100 or a horde of 10,000. Numbers were not uniform, but dependent on a variety of factors including assignments by the king or the manpower mustered by various clan chiefs or localities. A regiment might be 400 or 4,000 men. These were grouped into corps that took their name from the military kraals where they were mustered, or sometimes the dominant regiment of that locality.

paragraph: Section::::Social and military revolution.:Shakan methods versus European technology.

paragraph: The expanding Zulu power inevitably clashed with European hegemony in the decades after Shaka's death. In fact, European travellers to Shaka's kingdom demonstrated advanced technology such as firearms and writing, but the Zulu monarch was less than convinced. There was no need to record messages, he held, since his messengers stood under penalty of death should they bear inaccurate tidings. As for firearms, Shaka acknowledged their utility as missile weapons after seeing muzzle-loaders demonstrated, but he argued that in the time a gunman took to reload, he would be swamped by charging spear-wielding warriors.

paragraph: The first major clash after Shaka's death took place under his successor Dingane, against expanding European Voortrekkers from the Cape. Initial Zulu success rested on fast-moving surprise attacks and ambushes, but the Voortrekkers recovered and dealt the Zulu a severe defeat from their fortified wagon laager at the Battle of Blood River. The second major clash was against the British during 1879. Once again, most Zulu successes rested on their mobility, ability to screen their forces and to close when their opponents were unfavourably deployed. Their major victory at the Battle of Isandlwana is well known, but they also forced back a British column at the Battle of Hlobane mountain, by deploying fast-moving regiments over a wide area of rugged ravines and gullies, and attacking the British who were forced into a rapid disorderly fighting retreat, back to the town of Kambula.

paragraph: Section::::Social and military revolution.:Creator of a revolutionary warfare style.

paragraph: A number of historians argue that Shaka "changed the nature of warfare in Southern Africa" from "a ritualised exchange of taunts with minimal loss of life into a true method of subjugation by wholesale slaughter." Others dispute this characterization (see Scholarship section below). A number of writers focus on Shaka's military innovations such as the "iklwa" – the Zulu thrusting spear, and the "buffalo horns" formation. This combination has been compared to the standardisation implemented by the reorganised Roman legions under Marius.

paragraph: Much controversy still surrounds the character, methods and activities of the Zulu king. From a military standpoint, historian John Keegan notes exaggerations and myths that surround Shaka, but nevertheless maintains:

paragraph: Section::::Social and military revolution.:As borrower not innovator.

paragraph: Some scholars hold that popular depictions of Shaka as a suddenly appearing genius creating innovation are overstated, and that to the contrary, Shaka was a borrower and imitator of indigenous methods, customs and even ruler-lineages already in place. They also argue that Shaka's line was relatively short-lived and receives undue attention, compared to other, longer established lines and rulers in the region.

paragraph: Shaka's triumphs did not succeed in obliterating or diminishing the memories of his better-born rivals. The hypothesis that several states of a new kind arose about the same time does not take account of the contrast between the short line of Shaka and the long pedigrees of his most important opponents – especially the coalition grouped around his deadly enemy Zwide (d. 1822). The founders of the states which Omer-Cooper called "Zulu-type states," including the Ndebele, the Gasa, the Ngoni, and the Swazi had all been closely associated with Zwide. Instead of hypothesizing that they all chose to imitate Shaka, it is easier to imagine that he modeled his state on theirs. And as they stemmed from ancient families it is entirely possible that states of that type existed in a more remote past. Soga and Bryant related each of them to a larger grouping they called Mho."

paragraph: Section::::Scholarship studies.

paragraph: Section::::Scholarship studies.:Biographical sources.

paragraph: Scholarship in recent years has revised views of the sources on Shaka's reign. The earliest are two eyewitness accounts written by European adventurer-traders who met Shaka during the last four years of his reign. Nathaniel Isaacs published his "Travels and Adventures in Eastern Africa" in 1836, creating a picture of Shaka as a degenerate and pathological monster, which survives in modified forms to this day. Isaacs was aided in this by Henry Francis Fynn, whose diary (actually a rewritten collage of various papers) was edited by James Stuart only in 1950.

paragraph: Their accounts may be balanced by the rich resource of oral histories collected around 1900 by the same James Stuart, now published in six volumes as "The James Stuart Archive". Stuart's early 20th century work was continued by D. McK. Malcolm in 1950. These and other sources such as A.T. Bryant gives us a more Zulu-centred picture. Most popular accounts are based on E.A. Ritter's novel "Shaka Zulu" (1955), a potboiling romance that was re-edited into something more closely resembling a history. John Wright (history professor at University of KwaZulu-Natal, Pietermaritzburg), Julian Cobbing and Dan Wylie (Rhodes University, Grahamstown) are among a number of writers who have modified these stories.

paragraph: Various modern historians writing on Shaka and the Zulu point to the uncertain nature of Fynn and Isaac's accounts of Shaka's reign. A standard general reference work in the field is Donald Morris's "The Washing of The Spears", which notes that the sources, as a whole, for this historical era are not the best. Morris nevertheless references a large number of sources, including Stuart, and A. T. Bryant's extensive but uneven "Olden Times in Zululand and Natal", which is based on four decades of exhaustive interviews of tribal sources. After sifting through these sources and noting their strengths and weaknesses, Morris generally credits Shaka with a large number of military and social innovations, and this is the general consensus in the field.

paragraph: A 1998 study by historian Carolyn Hamilton summarizes much of the scholarship on Shaka towards the dawn of the 21st century in areas ranging from ideology, politics and culture, to the use of his name and image in a popular South African theme park, "Shakaland." It argues that in many ways, the image of Shaka has been "invented" in the modern era according to whatever agenda persons hold. This "imagining of Shaka" it is held, should be balanced by a sober view of the historical record, and allow greater scope for the contributions of indigenous African discourse.

paragraph: Military historians of the Zulu War must also be considered for their description of Zulu fighting methods and tactics, including authors like Ian Knight and Robert Edgerton. General histories of Southern Africa are also valuable including Noel Mostert's "Frontiers" and a detailed account of the results from the Zulu expansion, J.D. Omer-Cooper's "The Zulu Aftermath", which advances the traditional Mfecane theory.

paragraph: Section::::Scholarship studies.:The Mfecane.

paragraph: Section::::Scholarship studies.:The Mfecane.:History and legacy.

paragraph: The increased military efficiency led to more and more clans being incorporated into Shaka's Zulu empire, while other tribes moved away to be out of range of Shaka's "impis". The ripple effect caused by these mass migrations would become known (though only in the twentieth century) as the "Mfecane" (annihilation). Some groups that moved off (like the Hlubi and Ngwane to the north of the Zulus) could have been impelled by the Ndwandwe, not the Zulu. Some moved south (like the Mchunu and the Thembe), but never suffered much in the way of attack; it was precautionary, and they left many people behind in their traditional homelands.

paragraph: Shaka's army set out on a massive programme of expansion, killing or enslaving those who resisted in the territories he conquered. His "impis" (warrior regiments) were rigorously disciplined: failure in battle meant death.

paragraph: At the time of his death, Shaka ruled over 250,000 people and could muster more than 50,000 warriors. His 10-year-long kingship resulted in a massive number of deaths, mostly due to the disruptions the Zulu caused in neighbouring tribes, although the exact death toll is a matter of scholarly dispute. Further unquantifiable deaths occurred during mass tribal migrations to escape his armies.

paragraph: The Mfecane produced Mzilikazi of the Khumalo, a general of Shaka's. He fled Shaka's employ, and in turn conquered an empire in Zimbabwe, after clashing with European groups like the Boers. The settling of Mzilikazi's people, the AmaNdebele or Matabele, in the south of Zimbabwe with the concomitant driving of the AmaShona into the north caused a tribal conflict that still resonates today. Other notable figures to arise from the Mfecane include Soshangane, who expanded from the Zulu area into what is now Mozambique.

paragraph: Section::::Scholarship studies.:The Mfecane.:Disruptions of the Mfecane.

paragraph: The theory of the Mfecane holds that the aggressive expansion of Shaka's armies caused a brutal chain reaction across the southern areas of the continent, as dispossessed tribe after tribe turned on their neighbours in a deadly cycle of fight and conquest. Some scholars contend that this theory must be treated with caution as it generally neglects several other factors such as the impact of European encroachment, slave trading and expansion in that area of Southern Africa around the same time. Normal estimates for the death toll range from 1 million to 2 million. These numbers are, however, controversial.

paragraph: According to Julian Cobbing, the development of the view that Shaka was the monster responsible for the devastation is based on the need of apartheid era historians to justify the apartheid regime's racist policies. Other scholars acknowledge distortion of the historical record by apartheid supporters and shady European traders seeking to cover their tracks, but dispute the revisionist approach, noting that stories of cannibalism, raiding, burning of villages, or mass slaughter were not developed out of thin air but based on the clearly documented accounts of hundreds of black victims and refugees. Confirmation of such accounts can also be seen in modern archaeology of the village of Lepalong, an entire settlement built underground to shelter remnants of the Kwena people from 1827–36 against the tide of disruption that engulfed the region during Shakan times.

paragraph: William Rubinstein wrote that "Western guilt over colonialism, have also accounted for much of this distortion of what pre-literate societies actually were like, as does the wish to avoid anything which smacks of racism, even when this means distorting the actual and often appalling facts of life in many pre-literate societies". Rubinstein also notes:

paragraph: Fynn complies, and Wylie notes that he had an additional motive to distort Shaka's image—he applied for a huge grant of land—an area allegedly depopulated by Shaka's savagery.

paragraph: Michal Lesniewski has criticised Wylie for some of his attempts to revise Western thinking about Shaka.

paragraph: Section::::Physical descriptions.

paragraph: Though much remains unknown about Shaka's personal appearance, sources tend to agree he had a strong, muscular body and was not fat. He was of medium height and his skin tone was dark brown. He was not circumcised, which bucked a trend in Zulu culture near that time.

paragraph: Shaka's enemies described him as ugly in some respects. He had a big nose, according to Baleka of the Qwabe, as told by her father. He also had two prominent front teeth. Her father also told Baleka that Shaka spoke as though "his tongue were too big for his mouth." Many said that he spoke with a speech impediment.

paragraph: There is an anecdote that Shaka joked with one of his friends, Magaye, that he could not kill Magaye because he would be laughed at. Supposedly if he killed Magaye, it would appear to be out of jealousy because Magaye was so handsome and "Shaka himself was ugly, with a protruding forehead".

paragraph: Section::::In Zulu culture.

paragraph: The figure of Shaka still sparks interest among not only the contemporary Zulu but many worldwide who have encountered the tribe and its history. The current tendency appears to be to lionise him; popular film and other media have certainly contributed to his appeal. Certain aspects of traditional Zulu culture still revere the dead monarch, as the typical praise song below attests. The praise song is one of the most widely used poetic forms in Africa, applying not only to spirits but to men, animals, plants and even towns.

paragraph: Other Zulu sources are sometimes critical of Shaka, and numerous negative images abound in Zulu oral history. When Shaka's mother Nandi died for example, the monarch ordered a massive outpouring of grief including mass executions, forbidding the planting of crops or the use of milk, and the killing of all pregnant women and their husbands. Oral sources record that in this period of devastation, a singular Zulu, a man named "Gala", eventually stood up to Shaka and objected to these measures, pointing out that Nandi was not the first person to die in Zululand. Taken aback by such candid talk, the Zulu king is supposed to have called off the destructive edicts, rewarding the blunt teller-of-truths with a gift of cattle.

paragraph: The figure of Shaka thus remains an ambiguous one in African oral tradition, defying simplistic depictions of the Zulu king as a heroic, protean nation builder on one hand, or a depraved monster on the other. This ambiguity continues to lend the image of Shaka its continued power and influence, almost two centuries after his death.

paragraph: Section::::Legacy.

paragraph: BULLET::::- uShaka Marine World, an aquatic theme park in Durban opened in 2004.

paragraph: BULLET::::- The King Shaka International Airport at La Mercy, 35 km north of the Durban city centre was opened on 1 May 2010 in preparation for the 2010 FIFA World Cup after a protracted debate over the name lasting over two years. Durban's King Shaka airport opens at midnight.

paragraph: Section::::Popular culture.

paragraph: BULLET::::- "Shaka Zulu," an SABC TV miniseries about Shaka, which starred Henry Cele in the title role.

paragraph: BULLET::::- Featured as a playable leader in the computer strategy games "Civilization", "Civilization II", "Civilization III," and "," "," as well as "."

paragraph: BULLET::::- Rapper Holocaust references Shaka Zulu in the song "Sinister."

paragraph: BULLET::::- Featured in an episode of the "Epic Rap Battles of History" against Julius Caesar, where he is portrayed by DeStorm Power.

paragraph: BULLET::::- Featured in an episode of "Deadliest Warrior" versus William Wallace.

paragraph: BULLET::::- Shaka appears as a supporting character in Steven Barnes's 2002 novel "Lion's Blood," an alternate history in which the Americas are colonized by Africans rather than Europeans.

paragraph: BULLET::::- Discussed in the song "Birds in the Majic Industry" by Pavement (band).

paragraph: BULLET::::- Shaka is referenced in the song "Shaka Zulu" by F.Stokes.

paragraph: BULLET::::- Referenced in the song "Blockbuster Night Part 1" by Run The Jewels.

paragraph: BULLET::::- "Shaka Zulu" is a 1987 album by South African isicathamiya and mbube group Ladysmith Black Mambazo.

paragraph: BULLET::::- Luke W. Molver created a graphic novel centered around the Shaka origin story, "Shaka Rising: A Legend of the Warrior Prince" (South Africa: Jive Media, 2017).

paragraph: BULLET::::- Shaka Zulu is referenced in the 2014 song "Billy Not Really" by Death Grips.

paragraph: Section::::External links.

paragraph: BULLET::::- Shaka: Zulu chieftain

paragraph: BULLET::::- The History of Shaka

paragraph: BULLET::::- Statue proposal

paragraph: BULLET::::- "Shaka Zulu", Carpe Noctem

description: leader of the Zulu Kingdom

enwikiquote_title: Shaka

wikidata_label: Shaka Zulu

wikipedia_title: Shaka


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categories: American sports businesspeople,NASCAR drivers,1972 births,American Speed Association drivers,21st-century American racing drivers,20th-century American racing drivers,Racing drivers from Georgia (U.S. state),People from Stockbridge, Georgia,Living people,Businesspeople from Georgia (U.S. state)

paragraph: Joey Clanton

paragraph: Joseph Clanton (born November 1, 1972) is an American race car driver and businessman. He was the 2002 champion in the now-defunct American Speed Association stock car series. He is also the owner of two Zaxby's franchises.

paragraph: Section::::Busch Series.

paragraph: Clanton made his debut in the then-NASCAR Busch Series in the 2003 Hardee's 250 at Richmond International Raceway. Driving the #27 Trim Spa Pontiac for Brewco Motorsports, he started and finished 22nd. Clanton would drive in seventeen more races and earn one top 10 finish, a career-best 5th at Pikes Peak. After the Stacker 200 Presented by YJ Stinger, Clanton was replaced in the car by Chase Montgomery, whom he had replaced earlier in the season. He has not returned to the series since then.

paragraph: Section::::Craftsman Truck Series.

paragraph: In 2004, Clanton made his debut in the NASCAR Craftsman Truck Series, driving the #40 Chevrolet for Key Motorsports. In his first race at Daytona International Speedway, he crashed and finished 32nd. He also crashed the next race, finishing 31st at Atlanta. Clanton would not return to the series until 2007, when he brought Zaxby's sponsorship to the #09 Ford of JTG Racing. Sharing the ride with Stacy Compton, he ran in 16 of the 25 series events and earned five top 10s, including a career best of 6th at both Daytona and Atlanta.

paragraph: During the offseason, it was announced that Clanton would take the sponsorship and number and run full-time for Roush Fenway Racing in 2008. After wrecking himself and teammate Colin Braun in offseason testing and then crashing out of the season-opening race at Daytona, he was released and replaced by Travis Kvapil effective immediately.

description: American stock car racing driver

wikidata_label: Joey Clanton

wikipedia_title: Joey Clanton


text:
Villehardouin
prince of Achaea
Geoffrey I Villehardouin
Latin Empire
Byzantine
Empire of Nicaea
Venetian
Duchy of the Archipelago
Aegean Sea
Narjot de Toucy
Anna
Peloponnese
Morea
Mistra
Sparta
Monemvasia
Euboeote
Louis IX of France
Seventh Crusade
Cyprus
mint
Duchy of Athens
triarchs
Carintana dalle Carceri
War of the Euboeote Succession
Anna Komnene Doukaina
Michael II of Epirus
Despotate of Epirus
Manfred of Sicily
Battle of Pelagonia
Grand Maigne
Constantinople
Baldwin II of Constantinople
Charles of Anjou
Treaty of Viterbo
Conradin
Battle of Tagliacozzo
Isabella
Margaret
Philip of Sicily
Kingdom of Naples
Greece
trouvère
French
Greek

categories: French poets,Christians of the Crusades,Prisoners of war held by the Byzantine Empire,Princes of Achaea,French male poets,Villehardouin family,Male classical composers,Trouvères,People from Kalamata,1211 births

paragraph: William of Villehardouin

paragraph: William of Villehardouin ("Guillaume de Villehardouin"; died 1 May 1278) was the last Villehardouin prince of Achaea (as William II) and ruled the principality at the height of its power and influence(1246 - 1278).

paragraph: William was the son of Geoffrey I Villehardouin. In 1236 he aided the Latin Empire against the Byzantine Empire of Nicaea, and was rewarded with the overlordship of the Venetian Duchy of the Archipelago and other Venetian territories in the Aegean Sea. In 1239 he married the daughter of Narjot de Toucy and of Narjot's first wife (who was the daughter of the dowager empress Anna). William came to power in Achaea in 1246 when his brother Geoffrey II Villehardouin died.

paragraph: As prince he conquered the remaining territory of the Peloponnese (known at the time as Morea) and built the fortress of Mistra near Sparta. In 1249 he captured Monemvasia with help from his Euboeote vassals, and later that year accompanied Louis IX of France on the Seventh Crusade, joining him in Cyprus with 400 knights and 28 ships. Louis also gave him a license to mint coins in the style of royal French money.

paragraph: Under William's rule the Duchy of the Archipelago, the Duchy of Athens, and the Lombard lords ("triarchs") of Euboea recognized him as their lord. In 1255 his Venetian second wife Carintana dalle Carceri died, leading to a dispute over the inheritance of a fief in Euboea, and war broke out between Venice and Achaea (the War of the Euboeote Succession). William won the war and also defeated the Duke of Athens in 1258, reaffirming his influence over the duchy.

paragraph: In 1259 he married Anna Komnene Doukaina, daughter of Michael II of Epirus, forming an alliance with the Byzantine Despotate of Epirus against Nicaea, an alliance which also included Manfred of Sicily. In September of that year he led the Achaean forces at the Battle of Pelagonia against the Nicaeans, but the Epirote army deserted and William was defeated. He fled the field and hid under a haystack, where he was captured and brought to Nicaea. He remained in captivity until 1262, and was forced to hand over Grand Maigne, Monemvasia and Mistra to the Byzantine Empire, which had been restored in Constantinople the previous year.

paragraph: William had now lost all of his previous power, as had his former lord, Baldwin II of Constantinople, whose Latin Empire was lost with the Byzantine restoration. William and Baldwin both acknowledged Charles of Anjou as lord of Achaea under the Treaty of Viterbo in 1267; Charles had earlier defeated and killed William's old ally Manfred. As a vassal of Charles, William and 400 Achaean knights fought against Conradin at the Battle of Tagliacozzo in 1268.

paragraph: William and Anna had two daughters, Isabella and Margaret; Isabella, the elder daughter, married Charles's son Philip of Sicily, who, however, predeceased his father. Charles personally succeeded William in 1278, ending the Villehardouin dynasty and setting up Angevin rule, with the principality governed essentially as a province of the Kingdom of Naples. With the decreasing power and influence of Achaea, the Duchy of Athens became the most powerful state in Greece.

paragraph: William was also noted as a trouvère, and the "Manuscrit du Roi", containing two of his own compositions, was written in Achaea during his reign. He was fluent in both French and Greek.

description: Prince of Achaea

wikidata_label: William II of Villehardouin

wikipedia_title: William of Villehardouin


text:
St. Louis, Missouri
punk rock
San Francisco, California
Alex Cox
Sid and Nancy
Straight to Hell
Searchers 2.0
Death and the Compass
Repo Chick
Pray for Rain
Bernie Worrell
Parliament-Funkadelic
James Fearnley
The Pogues
Debbie Harry
Blondie
All My Pretty Ones
Beth Custer
essence (singer)
The Mermen
Kally Price
Todd Stadtman
A+D Museum
Amy Seiwert's Imagery
Marc Brew
AXIS Dance Company
Liss Fain Dance
RAWdance
Sonsherée Giles
Phil Tippett
Lucy Raven
MoMA
Jem Finer
Longplayer
Long Now Foundation
Isadora Duncan Dance Award
Abbe Wool
Zander Schloss
Chip Schloss
Mad God Part 3
OUT THERE
Tombstone Rashomon
Mad God Part 2
Racing to Zero
Mad God Part 1
The Caretaker
The Hack
Sin Pais
Immigration Tango
Repo Chick
5 Westerns
Dispatches from Nicaragua
Walker
Searchers 2.0
Journeyman
Missing Scenes
Repo Man
Repo Code
Repo Man
Harry Zen Stanton
Repo Man
Death and the Compass
Never Trust a Serial Killer
The Wednesday Woman
A Hard Look
Way Past Cool
Late Last Night
Three Businessmen
The Almost Perfect Bank Robbery
Nightmare in Big Sky Country
Since You've Been Gone
Perfect Body
Any Mother's Son
Perversions of Science
The Three Lives of Karen
Pretty Poison
Sweet Dreams
Death and the Compass
The Winner
A Boy Called Hate
Her Last Chance
She Fought Alone
My Dubious Sex Drive
White Mile
Car 54, Where Are You?
Floundering
Love, Cheat & Steal
Key West
Roadside Prophets
Death and the Compass
The Linguini Incident
Zandalee
No Secrets
Trust Me
Tales from the Crypt
Straight to Hell
Sid and Nancy
Lucy Raven
Phil Tippett
Disability Dance Works
Alice Sheppard
Hefei, China
Tippett Studio
Phil Tippett
Liss Fain Dance
Liss Fain
Yerba Buena Center for the Arts
Yerba Buena Center for the Arts
Alice Sheppard
Alice Sheppard
Liss Fain Dance
Liss Fain
Liss Fain Dance
Liss Fain
Liss Fain Dance
Liss Fain
Amy Seiwert's Imagery
Marc Brew
A+D Museum
Greg Goldin
Liss Fain Dance
Liss Fain
RAWdance
Wendy Rein
Ryan T. Smith
AXIS Dance Company
Marc Brew
The Tea Dancers/Ballet de la Compasión
Liss Fain Dance
Liss Fain
Longplayer
Jem Finer
Liss Fain Dance
Liss Fain
Lisa Bufano
Sonsherée Giles
www.prayforrain.com
www.danwool.bandcamp.com

categories: American male composers,Living people,Male film score composers,Musicians from San Francisco,Sound designers,Musicians from St. Louis,American punk rock musicians,American film score composers

paragraph: Dan Wool

paragraph: Originally from St. Louis, Missouri, where he played in the punk rock band The Strikers, Dan Wool is a San Francisco, California, based composer and sound designer who has worked in New York, Los Angeles, London, Mexico City and Anhui China creating scores for broadcast television projects, theatrical sound installations and more than 45 feature films, including nine films for celebrated cult filmmaker Alex Cox (Repo Man, Sid & Nancy) "Sid and Nancy", "Straight to Hell", "Searchers 2.0", "Death and the Compass", and "Repo Chick" among others, as well as television movies and episodic series for all major U.S. networks (ABC, CBS, FOX, NBC) and HBO . He is perhaps best known for his work as principal composer in film score soundtrack-group Pray for Rain.

paragraph: Wool has also worked extensively creating sound and music for international and domestic advertising and sound-branding and also as sound-designer for short films and documentaries, including several for the BBC and Channel 4 (UK). As a music producer, and engineer Wool has collaborated with international artists such as Bernie Worrell (Parliament-Funkadelic), Philip Chevron and James Fearnley (The Pogues), Debbie Harry (Blondie), and worked with various bay-area recording artists such as All My Pretty Ones, Beth Custer, Enrique, essence (singer), Indianna Hale, The Mermen, Kally Price and Todd Stadtman.

paragraph: In the arts Wool has composed scores and designed sound for The Architecture and Design Museum (A+D Museum), Los Angeles (sound installation for the exhibition "Windshield Perspective" May–July 2013), Amy Seiwert's Imagery dance company: Sketch Series ("Awkward Beauty" performed at ODC Theatre 2013. Choreographer Marc Brew). AXIS Dance Company ("Full Of Words" performed on U.S. tour 2011/12), Liss Fain Dance ("Speak of Familiar Things" performed at YBCA SF, "The True and False are One" performance and sound-installation at Theatre Artaud 2010 and at YBCA 2011 and "The Water is Clear and Still" performance and sound-installation at Theatre Artaud 2012, Powerhouse Arena Brooklyn and YBCA SF 2013), RAWdance ("Two by 24", site-specific dance performance at U.N. Plaza 2012), choreographer Sonsherée Giles (Afternoon of a Fawn performed at Theater KOSMOS, Austria 2010 and Temescal Arts Center 2011) and The Tea Dancers/Ballet de la Compasión (Fantasia Mexicana performed at Studio Eight 2011). In 2018 his music and sound design work for Phil Tippett and Lucy Raven’s experimental film OUT THERE screened at MoMA (NYC).In October 2010 Wool performed in composer Jem Finer's "Longplayer" installation, sponsored by the Long Now Foundation at YBCA. In the years 2015 through 2018 he has been engaged by the U.S. Olympic Synchronized Swimming Team for ongoing compositional and musical services.

paragraph: Dan has twice been nominated for an Isadora Duncan Dance Award (Izzie Award) for Outstanding Achievement in Music/Sound/Text, in 2017 for his work with Liss Fain Dance and in 2013 for his work with AXIS Dance Company. In 2014 Dan received an award from Bay Area Dance Watch (Blessay Award) for “Best Dance Soundtrack”

paragraph: Dan Wool is the brother of screenwriter/electrician Abbe Wool and stepbrother to Los Angeles musician Zander Schloss and St. Louis luminary Chip Schloss.

paragraph: Section::::Filmography.

paragraph: BULLET::::- "Inclinations" (2019) (Short Film) "Music and Sound Design"

paragraph: BULLET::::- "Mad God Part 3" (2018) (Short Film)

paragraph: BULLET::::- "OUT THERE" (2018) (Short Film) "Music and Sound Design"

paragraph: BULLET::::- "Tombstone Rashomon" (2017)

paragraph: BULLET::::- "Mad God Part 2" (2015) (Short Film)

paragraph: BULLET::::- "Racing to Zero" (2014) (Documentary)

paragraph: BULLET::::- "Mad God Part 1" (2014) (Short Film)

paragraph: BULLET::::- "Hog's Tooth" (2014) (Short Film)

paragraph: BULLET::::- "The Inheritance" (2014) (Short Film)

paragraph: BULLET::::- "The Mayor" (2013) (Short Documentary)

paragraph: BULLET::::- "The Caretaker" (2012) (Short Documentary)

paragraph: BULLET::::- "The Hack" (2011) (Short Film) "Sound Design"

paragraph: BULLET::::- "Sin Pais" (2010) (TV) (Short Documentary)

paragraph: BULLET::::- "Immigration Tango" (2010)

paragraph: BULLET::::- "Repo Chick" (2010)

paragraph: BULLET::::- "5 Westerns" (2008) (TV) (Short Documentary Series) "Music and Sound Design"

paragraph: BULLET::::- "Dispatches from Nicaragua" (2008) (TV) "Walker DVD Element"

paragraph: BULLET::::- "Searchers 2.0" (2007)

paragraph: BULLET::::- "Journeyman" (2006)

paragraph: BULLET::::- "Missing Scenes" (2006) "Producer, Music and Sound Design for Repo Man Anniversary Edition DVD Element"

paragraph: BULLET::::- "Repo Code" (2006) "Music and Sound Design for Repo Man Anniversary Edition DVD Element"

paragraph: BULLET::::- "Harry Zen Stanton" (2006) "Music and Sound Design for Repo Man Anniversary Edition DVD Element"

paragraph: BULLET::::- "Death and the Compass" (2005) "Commentary for UK DVD"

paragraph: BULLET::::- "" (2004) (DVD)

paragraph: BULLET::::- "" (2002) (TV)

paragraph: BULLET::::- "Never Trust a Serial Killer" (2002)

paragraph: BULLET::::- "The Wednesday Woman" (2000) (TV)

paragraph: BULLET::::- "A Hard Look" (2000) (TV) (Documentary)

paragraph: BULLET::::- "Way Past Cool" (2000) (TV) "Score Mixer"

paragraph: BULLET::::- "Late Last Night" (1999) (TV)

paragraph: BULLET::::- "" (1999) (Documentary)

paragraph: BULLET::::- "Three Businessmen" (1998)

paragraph: BULLET::::- "The Almost Perfect Bank Robbery" (1998) (TV)

paragraph: BULLET::::- "Nightmare in Big Sky Country" (1998) (TV)

paragraph: BULLET::::- "Since You've Been Gone" (1998)

paragraph: BULLET::::- "Standoff" (1998)

paragraph: BULLET::::- "Perfect Body" (1997) (TV)

paragraph: BULLET::::- "Any Mother's Son" (1997) (TV)

paragraph: BULLET::::- "Perversions of Science" (1997) TV Series

paragraph: BULLET::::- "The Three Lives of Karen" (1997) (TV)

paragraph: BULLET::::- "Pretty Poison" (1996) (TV)

paragraph: BULLET::::- "Sweet Dreams" (1996) (TV)

paragraph: BULLET::::- "Death and the Compass" (1996) (TV)... a.k.a. Muerte y la Brújula, La (Mexico)

paragraph: BULLET::::- "The Winner" (1996) (Japanese directors-cut only)

paragraph: BULLET::::- "A Boy Called Hate" (1996)

paragraph: BULLET::::- "Her Last Chance" (1996) (TV)

paragraph: BULLET::::- "She Fought Alone" (1995) (TV) ... a.k.a. Scared by Love

paragraph: BULLET::::- "My Dubious Sex Drive" (1995)

paragraph: BULLET::::- "White Mile" (1994) (TV)

paragraph: BULLET::::- "Car 54, Where Are You?" (1994)

paragraph: BULLET::::- "Floundering" (1994)

paragraph: BULLET::::- "Love, Cheat & Steal" (1993) (TV)

paragraph: BULLET::::- "Key West" (1993) TV Series (13 episodes)

paragraph: BULLET::::- "Roadside Prophets" (1992)

paragraph: BULLET::::- "Death and the Compass" (1992) (TV) for UK broadcast

paragraph: BULLET::::- "The Linguini Incident" (1991) (restaurant source music)

paragraph: BULLET::::- "Zandalee" (1991)

paragraph: BULLET::::- "No Secrets" (1991)

paragraph: BULLET::::- "Trust Me" (1989)

paragraph: BULLET::::- "Tales from the Crypt" (1989) TV Series (episode "The Bribe")

paragraph: BULLET::::- "Straight to Hell" (1987)

paragraph: BULLET::::- "Sid and Nancy" (1986)

paragraph: Section::::Performing Arts and Sound Installation Credits.

paragraph: BULLET::::- "LRPT" (2017) Sound-design composition and mix for on-going experimental film by Lucy Raven and Phil Tippett. Preliminary screening at EMPAC (Albany, New York)

paragraph: BULLET::::- "Where Good Souls Fear" (2017 "in-production") Commissioned score composition for Disability Dance Works. Choreographer Alice Sheppard

paragraph: BULLET::::- "Dream of Anhui" (2016) Score composition, sound-design and mixer for 20.1 channel theatrical sound installation. Hefei, China Produced by Tippett Studio Director Phil Tippett

paragraph: BULLET::::- "Tacit Consent" (dance score) (2016) Commissioned score and sound-design composition for Liss Fain Dance. Choreographer Liss Fain Co-presentation with Yerba Buena Center for the Arts

paragraph: BULLET::::- "Tacit Consent" (installation) (2016) Visual and sound installation at YBCA (SF) in collaboration with set-designer, Matthew Antaky and sound-installation and projection-designer Frédéric O. Boulay Co-presentation with Yerba Buena Center for the Arts

paragraph: BULLET::::- "Under An Untouchable Sky" (2015) Commissioned score composition for Alice Sheppard. Choreographer Alice Sheppard

paragraph: BULLET::::- "A Space Divided" (2015) Commissioned score composition, sound and music supervisor for Liss Fain Dance. Choreographer Liss Fain

paragraph: BULLET::::- "The Imperfect is Our Paradise" (2014) Commissioned score composition for Liss Fain Dance. Choreographer Liss Fain

paragraph: BULLET::::- "After The Light" (2014) Commissioned score composition for Liss Fain Dance. Choreographer Liss Fain

paragraph: BULLET::::- "Awkward Beauty "(2013) Commissioned score composition for Amy Seiwert's Imagery. Choreographer Marc Brew

paragraph: BULLET::::- "Windshield Perspective" (2013) Commissioned score and sound installation for The Architecture and Design Museum (A+D Museum), Los Angeles. Curator Greg Goldin

paragraph: BULLET::::- "The Water is Clear and Still" (2012/13) Commissioned score composition for Liss Fain Dance. Choreographer Liss Fain

paragraph: BULLET::::- "Two by 24: Love on Loop" (2012) Commissioned score composition for RAWdance. Choreographers Wendy Rein and Ryan T. Smith

paragraph: BULLET::::- "Full of Words" (2011) Commissioned score composition for AXIS Dance Company. Choreographer Marc Brew

paragraph: BULLET::::- "Fantasia Mexicana" (2011) Sound design and composition for dance-program for The Tea Dancers/Ballet de la Compasión.

paragraph: BULLET::::- "The True & False are One" (2010) Commissioned score composition for Liss Fain Dance. Choreographer Liss Fain

paragraph: BULLET::::- "Longplayer" (2010) Performer in an excerpt of Longplayer. Composer Jem Finer

paragraph: BULLET::::- "Speak of Familiar Things" (2010) Commissioned score composition for Liss Fain Dance. Choreographer Liss Fain

paragraph: BULLET::::- "Afternoon of a Fawn" (2010) Sound-design for dance performance by Lisa Bufano and Sonsherée Giles. Choreographer Sonsherée Giles.

paragraph: BULLET::::- "Profound/Refound" (2008) Sound-design installation accompanying art exhibition by sculptor and painter Ben Smith

paragraph: Section::::External links.

paragraph: BULLET::::- www.prayforrain.com

paragraph: BULLET::::- www.danwool.bandcamp.com

description: American musician

wikidata_label: Dan Wool

wikipedia_title: Dan Wool