marți, 3 aprilie 2018

Gianfranco Zola, an Italian former footballer, who played predominantly as a forward. After retirement from playing he became a manager

Gianfranco Zola OMRI[3] OBE[4] (born 5 July 1966) is an Italian former footballer, who played predominantly as a forward. After retirement from playing manager.
he became a
He spent the first decade of his playing career playing in Italy, most notably with Napoli, alongside Diego Maradona and Careca, where he was able to win the Serie A title, and at Parma, where he won the Italian Super Cup and the UEFA Cup. He later moved to English side Chelsea, where he was voted the Football Writers' Player of the Year in the 1996–97 season. During his time at the club, he won the UEFA Cup Winners' Cup, the UEFA Super Cup, two FA Cups, the League Cup, and the Community Shield. In 2003, he was voted Chelsea's greatest player ever.[5] He was capped 35 times for Italy from his debut in 1991, appearing at the 1994 World Cup, where Italy finished in second place, and Euro 1996.
After a stint with Italy under-21s, Zola began his club managerial career with West Ham United of the Premier League in 2008 in the Premier League, before being sacked in 2010. He was manager of Watford from July 2012 until he announced his resignation on 16 December 2013. From December 2014 to March 2015 he managed Cagliari in Serie A.

duminică, 1 aprilie 2018

Manfred von Brauchitsch, a German auto racing driver who drove for Mercedes-Benz in the famous "Silver Arrows" of Grand Prix motor racing in the 1930s


Manfred Georg Rudolf von Brauchitsch (15 August 1905 – 5 February 2003) was a German auto racing driver who drove for Mercedes-Benz in the famous "Silver Arrows" of Grand Prix motor racing in the 1930s.
Although an excellent driver who had reasonable success, he struggled with bad luck, and was overshadowed by his more successful Mercedes-Benz teammates Rudolf Caracciola and Hermann Lang.

Brauchitsch won three Grands Prix - the 1934 ADAC Eifelrennen which saw the first appearance of Silver Arrows Mercedes Race cars, the 1937 Monaco Grand Prix (considered his greatest victory), and the 1938 French Grand Prix. His fastest lap in the 1937 Monaco race (1 minute 46.5 seconds, 11.9 seconds faster than the old record lap) set a record that stood for 18 years.

He was twice runner-up in the European Championship, in 1937 and 1938, and finished third in 1939.
He was noted for his red helmet and his bad luck, losing a number of other Grands Prix when he was on the very verge of winning (no less than five, by some counts). His most famous loss was the 1935 German Grand Prix, when a tire blew while he was leading the last lap, handing victory to Tazio Nuvolari in an Alfa Romeo in one of the latter's most famous victories - the only time during the reign of the Silver Arrows when a Grand Prix was won by a car other than a Mercedes or Auto Union.

Following World War II, being the son and nephew of military officers was not of much practical use in West Germany. After several failed businesses, Brauchitsch contacted Caracciola, who gave him contacts in South America. Unable to settle there, he returned to West Germany embittered and became a target for the communists of East Germany. Again unable to settle, he returned to West Germany, where he was arrested and charged with espionage. In 1951, he was jailed and then released on bail.[citation needed]
During a bail period in 1955, Brauchitsch defected to East Germany; his wife Gisela committed suicide a year later. He was put in charge of the East German national motor sport organisation, as well as becoming president of its movement to promote the Olympic ideal. The latter led to his being awarded the Olympic Order in 1988 by the International Olympic Committee.[1]
Brauchitsch later remarried, to Lieselotte, and they were permitted to visit West Germany occasionally. Following the death of Hermann Lang in 1987, Brauchitsch was regarded as the last surviving member of the pre-war "Silver Arrow" drivers. He died in Gräfenwarth in 2003.

luni, 12 martie 2018

Hubert de Givenchy, a French fashion designer who founded The House of Givenchy in 1952. He was famous for having designed much of the personal and professional wardrobe of Audrey Hepburn

Count Hubert James Marcel Taffin de Givenchy (20 February 1927[2] – 10 March 2018[3]) was a French fashion designer who founded The House of Givenchy in 1952. He was famous for having designed much of the personal and professional wardrobe of Audrey Hepburn and clothing for Jacqueline Bouvier Kennedy. He was named to the International Best Dressed List Hall of Fame in 1970.
Hubert James Taffin de Givenchy was born on 20 February 1927 in Beauvais, Oise[5][6][7] into a Protestant family.[2] He was the younger son of Lucien Taffin de Givenchy (1888–1930), marquis of Givenchy, and his wife, the former Béatrice ("Sissi") Badin (1888–1976). The Taffin de Givenchy family, which traces its roots to Venice, Italy (the original surname was Taffini), was ennobled in 1713, at which time the head of the family became marquis of Givenchy.[8] He had an elder brother, Jean-Claude de Givenchy (1925–2009), who inherited the family's marquessate and eventually became the president of Parfums Givenchy.
After his father's death from influenza in 1930, he was raised by their mother and maternal grandmother,[7] Marguerite Dieterle Badin (1853–1940), the widow of Jules Badin (1843–1919), an artist who was the owner and director of the historic Gobelins Manufactory and Beauvais tapestry factories. Artistic professions ran in the extended Badin family. Givenchy's maternal great-grandfather, Jules Dieterle, was a set designer who also created designs for the Beauvais factory, including a set of 13 designs for the Elysée Palace. One of his great-great-grandfathers also designed sets for the Paris Opera.
He moved to Paris at the age of seventeen, where he studied at the École des Beaux-Arts.[6][7]

Career

Givenchy's first designs were done for Jacques Fath in 1945.[6][9] Later he did designs for Robert Piguet and Lucien Lelong (1946) – working alongside the still-unknown Pierre Balmain and Christian Dior.[6][9] From 1947 to 1951 he worked for the avantgarde designer Elsa Schiaparelli.[6][9]
In 1952, he opened his own design house at the Plaine Monceau in Paris.[6][7] Later, he named his first collection "Bettina Graziani" for Paris's top model at the time.[6] His style was marked by innovation, contrary to the more conservative designs by Dior. At 25, he was the youngest designer of the progressive Paris fashion scene. His first collections were characterized by the use of rather cheap fabrics for financial reasons, but they always piqued curiosity through their design.[citation needed]
Audrey Hepburn, later the most prominent proponent of Givenchy's fashion, and Givenchy met in 1953 during the shoot of Sabrina.[10][11] He went on to design the black dress she wore in Breakfast at Tiffany's.[10][11]
He also developed his first perfume collection for her (L'Interdit and Le de Givenchy).[6][7] Audrey Hepburn was the face of that fragrance. This was the first time a star was the face of a fragrance's advertising campaign, and probably the last time that it was done for free, only by friendship.[12]
At that time, Givenchy also met his idol, Cristóbal Balenciaga.[7][13] Although a renowned designer, Givenchy not only sought inspiration from the lofty settings of haute couture but also in such avant-garde environments as Limbo, the store in Manhattan's East Village.[14]
Clients have included Donna Marella Agnelli, Lauren Bacall,[5] Ingrid Bergman, Countess Mona von Bismarck, Countess Cristiana Brandolini d'Adda, Sunny von Bülow,Renata Tebaldi, Maria Callas, Capucine, Marlene Dietrich,[5] Daisy Fellowes, Greta Garbo, Gloria Guinness, Dolores Guinness, Aimee de Heeren, Audrey Hepburn,[10] Jane Holzer, Grace Kelly,[10] Princess Salimah Aga Khan, Rachel Lambert Mellon, Jeanne Moreau, Jacqueline Kennedy Onassis,[10] Empress Farah Pahlavi, Babe Paley, Lee Radziwill, Comtesse Jacqueline de Ribes, Nona Hendryx, Baroness Pauline de Rothschild, Frederica von Stade, Baroness Gaby Van Zuylen van Nijevelt, Diana Vreeland, Betsey Cushing Roosevelt Whitney, Baroness Sylvia de Waldner, the Duchess of Windsor, Jayne Wrightsman, etc.
In 1954, Givenchy's prêt-à-porter collection debuted.[7][13]
De Givenchy created the iconic 'Balloon coat' and the 'Baby Doll' dress in 1958.[15][16]
In 1969,[17] a men's line was also created.[7] From 1976 through 1983, the Ford Motor Company offered a Givenchy Edition of its Continental Mark series of luxury automobiles beginning in 1976 with the Continental Mark IV coupe and ending with the 1983 Continental Mark VI coupe and sedan. In 1988, he organized a retrospective of his work at the Beverly Wilshire Hotel in Beverly Hills, California.[9]
The House of Givenchy was split in 1981, with the perfume line going to Veuve Clicquot, while the fashion branch was acquired by LVMH in 1989.[18] As of today, LVMH owns Parfums Givenchy as well.[6]


De Givenchy retired from fashion design in 1995.[10] His successor to head the Givenchy label was John Galliano.[6][7] After a brief stint by Galliano, a five-year stay from Alexander McQueen and a term from 2001 to 2004 by Julien Macdonald, Givenchy women's ready-to-wear and haute couture was then headed by Riccardo Tisci from 2005 until 2017.[6][7]
Clare Waight Keller is now the creative director of the fashion house since the Resort 2018 collection.
He resided at the Château du Jonchet, a listed historic castle in Romilly-sur-Aigre, Eure-et-Loir, near Paris.[7] In his retirement, he focused on collecting 17th and 18th-century bronze and marble sculptures.[11] In July 2010, he spoke at the Oxford Union.[6][7] From 8 to 14 September 2014, during the Biennale des Antiquaires, he organized a private sale exhibition at Christie's in Paris featuring, artwork by Jean-Baptiste-Claude Odiot, the Manufacture nationale de Sèvres, Jacques-Louis David, Anne-Louis Girodet de Roussy-Trioson, etc.[19]
In January 2007, The French Post Office issued postage stamps for Valentine's Day designed by Givenchy. In October 2014, a retrospective exhibition featuring ninety-five of his designed pieces took place at the Thyssen-Bornemisza Museum in Madrid, Spain.[10][20] His longtime partner was fashion designer Philippe Venet.[21]
He died in his sleep at the Renaissance chateau near Paris on Saturday 10 March 2018.

marți, 6 martie 2018

Success 2018: Rod Laver, an Australian former tennis player widely regarded as one of the greatest in the history of the sport. He was the No. 1 ranked professional from 1964 to 1970

Rodney George Laver AC, MBE (born 9 August 1938) is an Australian former tennis player widely regarded as one of the greatest in the history of the sport.[b] He was the No. 1 ranked professional from 1964 to 1970, spanning four years before and three years after the start of the Open Era in 1968. He also was the No. 1 ranked amateur in 1961–62.[3]
Laver's 200 singles titles are the most in tennis history. This included his all-time men's record of 10 or more titles per year for seven consecutive years (1964–70). He excelled on all of the court surfaces of his time: grass, clay, hard, carpet, and wood/parquet.
Laver won 11 Grand Slam singles titles, though he was banned from playing those tournaments for the five years prior to the Open Era. Laver is the only player to twice achieve the calendar-year Grand Slam, in 1962 and 1969, and the latter remains the only time a man has done so in the Open Era. He also won eight Pro Slam titles, including the "pro Grand Slam"[13][14] in 1967, and he contributed to five Davis Cup titles for Australia during an age when Davis Cup was deemed as significant as the Grand Slams.

Career

Amateur (1956–62)

Laver was a young boy when he left school to pursue a tennis career that lasted 24 years. He was coached in Queensland by Charlie Hollis and later by the Australian Davis Cup team captain Harry Hopman, who gave Laver the nickname "Rocket".
Laver was both Australian and US Junior champion in 1957. He had his breakthrough on the world stage in 1959, when he reached all three finals at Wimbledon, winning the mixed doubles title with Darlene Hard. As an unseeded player, he lost the singles final to Peruvian Alex Olmedo after surviving an 87-game semifinal against American Barry MacKay. His first major singles title was the Australian Championships in 1960, where he defeated fellow Australian Neale Fraser in a five-set final after coming back from two sets down and saving a Fraser championship point in the fourth set. Laver captured his first Wimbledon singles crown in 1961.
In 1962, Laver became the first male player since Don Budge in 1938 to win all four Grand Slam singles titles in the same year and won an additional 18 titles (22)[23] in all. Among those titles were the Italian Championships and the German Championships, giving Laver the "clay court triple" of Paris, Rome, and Hamburg that had been achieved previously only by Lew Hoad in 1956. The biggest hurdle to Laver's winning the Grand Slam was the French Championships on slow clay, where Laver won three consecutive five-setters beginning with the quarterfinals. In his quarterfinal with Martin Mulligan, Laver saved a matchpoint in the fourth set with a backhand volley after coming to the net behind a second serve. In the final, Laver lost the first two sets and was down 0–3 in the fourth set before coming back to defeat Roy Emerson. At Wimbledon, his progress was much easier. Laver lost only one set the whole tournament, to Manuel Santana in a quarterfinal, who held a set point for a two set lead. At the US Championships, Laver lost only two sets during the tournament and defeated Emerson again in the final.
In February 1963, he appeared on the panel game show To Tell the Truth, where all four panelists identified him based on his knowledge of the history of tennis.[24]

Professional

Before the Open Era (1963–68)

In December 1962 Laver turned professional after winning the Davis Cup with the Australian team. After an initial period of adjustment he quickly established himself among the leading professional players such as Ken Rosewall, Lew Hoad and Andrés Gimeno, and also Pancho Gonzales when Gonzales returned to a full-time schedule in 1964. During the next seven years, Laver won the U.S. Pro Tennis Championships five times, including four in a row beginning in 1966.
In the beginning of 1963, Laver was beaten consistently by both Rosewall and Hoad on an Australasian tour. Hoad won the first eight matches against Laver, and Rosewall won 11 out of 13.[25] By the end of the year, however, with six tournament titles, Laver had become the No. 2 professional player behind Rosewall.[26]
In 1964, Laver and Rosewall both won seven important titles (in minor tournaments Laver won four and Rosewall won three), but Laver won 15 of 19 matches against Rosewall and captured the two most prestigious titles, the US Pro Championships over Gonzales and the Wembley Championships over Rosewall. In tennis week, Raymond Lee has described the Wembley match, where Laver came from 5–3 down in the fifth set to win 8–6, as possibly their best ever and one that changed tennis history. Lee regards this win as the one that began and established Laver's long reign as world number one. The other prestige title, the French pro, was won by Rosewall.
In 1965, Laver was clearly the No. 1 professional player,[27] winning 17 titles[28] and 13 of 18 matches against Rosewall. In ten finals, Laver won eight against the still dangerous Gonzales.
In 1966, Laver won 16 events,[28] including the US Pro Championships, the Wembley Pro Championship, and eight other important tournaments.
In 1967, Laver won 19 titles,[28] including the Wimbledon Pro, the US Pro Championships, the Wembley Pro Championship, and the French Pro Championship, which gave him a clean sweep of the most important professional titles, a professional Grand Slam. The tournament in 1967 on Wimbledon's Centre Court was the only professional event ever staged on that court before the Open Era began. Laver beat Rosewall in the final 6–2, 6–2, 12–10.

During the Open Era (1968–76)

With the dawn of the Open Era in 1968, professional players were once again allowed to compete in Grand Slam events. Laver became Wimbledon's first Open Era champion in 1968, beating the best amateur, American Arthur Ashe, in a semifinal and fellow-Australian Tony Roche in the final, both in straight sets.[29][30] Laver was also the runner-up to Ken Rosewall in the first French Open. In this first "open" year, there were only eight open events besides Wimbledon and the French Open, where professionals, registered players, and amateurs could compete against each other. The professionals mainly played their own circuit, with two groups – National Tennis League (NTL) and World Championships Tennis (WCT) – operating. Laver was ranked No. 1 universally, winning the US Professional Championships on grass and the French Pro Championship on clay (both over John Newcombe).[31] Laver also won the last big open event of the year, the Pacific Southwest in Los Angeles on hard courts.[32] Ashe regarded Laver's 4–6, 6–0, 6–0 final win over Ken Rosewall as one of his finest performances.[33] Laver's post-match comment was, "This is the kind of match you always dream about. The kind you play at night in your sleep."
In 1969, Laver won all four Grand Slam tournaments in the same calendar year for the second time, sealing the achievement with a four-set win over Roche in the US Open final. He won 18 of the 32 singles tournaments he entered (still the Open Era titles record) and compiled a 106–16 win-loss record. In beating Newcombe in four sets in the Wimbledon final, he captured the title at the All England Club for the fourth consecutive time that he had entered the tournament (and reached the final for the sixth consecutive time as he had been runner-up in 1959 and 1960). He set a record of 31 consecutive match victories at Wimbledon between 1961 and 1970, which lasted until 1980 when it was eclipsed by Björn Borg. Unlike his first Grand Slam year in 1962, Laver in 1969 played in events open to all the best professional and amateur players of the world. In the year's Grand Slam tournaments, Laver had five five-set-matches, twice coming back from two sets down in early rounds. In the four finals, however, he lost a total of only two sets. His hardest match was a marathon 90-game semifinal against Roche at the Australian Open under tropical hot conditions. Other opponents at the Australian Open included Roy Emerson, Fred Stolle, and Andrés Gimeno. At the French Open, Laver beat Gimeno, Tom Okker, and Rosewall. At Wimbledon, Laver overcame strong challenges from Stan Smith, Cliff Drysdale, Ashe, and Newcombe. At the US Open on slippery grass courts, he defeated Dennis Ralston, Emerson, Ashe, and Roche. Laver proved his versatility by winning the Grand Slam tournaments on grass and clay, plus the two most important hard court titles (South African Open at Ellis Park, Johannesburg and the US Professional Championships at Boston) and the leading indoor tournaments (Philadelphia US Pro Indoor and Wembley British Indoor). With US$124,000 in prize money, he was also the first player to break the US$100,000 barrier in a year.
In the early 1970s, Laver lost his grip on the major tournaments. He played only five Grand Slam tournaments from 1970 through 1972. This was partly because of his contracts with NTL and WCT. But on the WCT tours, he remained the leading player and by far the leading prize money winner.
In 1970, Laver won 15 titles[28] and US$201,453 in prize money, including the rich "Tennis Champions Classic" and five other big events (Sydney Dunlop Open, Philadelphia, Wembley, Los Angeles, South African Open). Those were the equivalent of the modern day ATP Masters Series. With only two majors played by all the best players (Wimbledon and the US Open), there was no clear-cut World No. 1 in 1970. Wimbledon champion Newcombe, US champion Rosewall, and Laver (who won the most titles and had a 3–0 win-loss record against Newcombe and a 5–0 record against Rosewall) were ranked the highest by different journalists and expert panels. Although Newcombe was top ranked by Lance Tingay, Newcombe wrote later in his autobiography "Newk-Life on and off the Court" (2002) that the top honour in 1970 belonged to Laver.
In 1971 he won seven titles,[28] including the Italian Open in Rome on clay over Jan Kodeš, the reigning French Open champion. Laver successfully defended his title at the "Tennis Champions Classic", winning 13 consecutive winner-take-all matches against top opponents and US$160,000. For the year, Laver won a then-record US$292,717 in tournament prize money and became the first tennis player to surpass US$1 million in career prize money. In 1971 and 1972, Laver finished as the points leader of the WCT tournament series but lost the playoff finals at Dallas to Rosewall. The last match is rated as one of the best of all time and drew a TV audience of over 20 million.
In 1972, Laver cut back his tournament schedule, partly because of back and knee injuries and his tennis camp businesses, but he still won five titles[28] that year. In 1973, Laver won seven titles[28] and successfully participated in the semifinals and final of the Davis Cup, where he won all six of his rubbers for Australia. In 1974 Laver won six titles[28] from 13 tournaments and ended the year as World No. 4 on the computer. At 36, he was the oldest player during the Open Era to have been included in the year-ending top five.
In 1975, Laver set a record for WCT tournaments by winning four titles and 23 consecutive matches but in 1976, he semi-retired from the main tour, playing only a few selected events. He also signed with World Team Tennis, where he became "Rookie of the Year" at the age of 38 but won five titles[34] overall that season.
Overall, despite turning 30 just months after the Open Era began, Laver had tremendous success, winning 74 singles titles, which remains sixth most of the era. Plus, like most players of his day, he regularly played doubles, winning 37 titles.

vineri, 2 martie 2018

Pope Francis, the 266th and current Pope of the Catholic Church, a title he holds ex officio as Bishop of Rome, and sovereign of Vatican City


Pope Francis (Latin: Franciscus; Italian: Francesco; Spanish: Francisco; born Jorge Mario Bergoglio;[b] 17 December 1936) is the 266th and current Pope of the Catholic Church, a title he holds ex officio as Bishop of Rome, and sovereign of Vatican City. He chose Francis as his papal name in honor of Saint Francis of Assisi. Francis is the first Jesuit pope, the first from the Americas, the first from the Southern Hemisphere, and the first pope from outside Europe since the Syrian Gregory III, who reigned in the 8th century.
Born in Buenos Aires, Argentina, Bergoglio worked briefly as a chemical technologist and nightclub bouncer before beginning seminary studies. He was ordained a Catholic priest in 1969, and from 1973 to 1979 was Argentina's provincial superior of the Society of Jesus (Jesuits). He became the Archbishop of Buenos Aires in 1998 and was created a cardinal in 2001 by Pope John Paul II. He led the Argentine Church during the December 2001 riots in Argentina, and the administrations of Néstor Kirchner and Cristina Fernández de Kirchner considered him a political rival. Following the resignation of Pope Benedict XVI on 28 February 2013, a papal conclave elected Bergoglio as his successor on 13 March.
Throughout his public life, Pope Francis has been noted for his humility, emphasis on God's mercy, concern for the poor and commitment to interfaith dialogue. He is credited with having a less formal approach to the papacy than his predecessors, for instance choosing to reside in the Domus Sanctae Marthae guesthouse rather than in the papal apartments of the Apostolic Palace used by his predecessors. In addition, due to both his Jesuit and Ignatian aesthetic, he is known for favoring simpler vestments void of ornamentation, including refusing the traditional papal mozzetta cape upon his election, choosing silver instead of gold for his piscatory ring, and keeping the same pectoral cross he had as cardinal. He maintains that the Church should be more open and welcoming. He does not support unbridled capitalism, Marxism, or Marxist versions of liberation theology. Francis maintains the traditional views of the Church regarding abortion, marriage, ordination of women, and clerical celibacy. He opposes consumerism, irresponsible development, and supports taking action on climate change, a focus of his papacy with the promulgation of Laudato si'. In international diplomacy, he helped to restore full diplomatic relations between the United States and Cuba. Since the publication of Amoris Laetitia in 2016, Francis has faced increasingly open criticism from theological conservatives, particularly on the question of admitting civilly divorced and remarried Catholics to Communion.

sâmbătă, 10 februarie 2018

Success 2018: Farfarello, eine deutsche Akustik-Rock-Band um den Geiger Mani Neumann und den Gitarristen Ulli Brand

Farfarello, früher auch Trio Farfarello, ist eine deutsche Akustik-Rock-Band um den Geiger Mani Neumann und den Gitarristen Ulli Brand, die im Jahr 1982 gegründet wurde. Die musikalischen Einflüsse der Band reichen von traditioneller rumänischer Musik bis zum Progressive Rock.
Neben Neumann und Brand, die bis heute den Kern bilden, wurde die Band ursprünglich als Trio farfarello gemeinsam mit dem Bassisten Ecke Volk gegründet. Seit dessen Ausscheiden spielen andere Musiker als Gastmusiker bei farfarello mit, neben Bassisten auch Schlagzeuger und Perkussionisten.
So ist als Schlagzeuger regelmäßig Charly T zu hören, der unter anderem 2005 für Köster / Hocker, 2009 für The Lords und 2012 für Chris Kramer spielte.[2] Ebenso spielt immer wieder der niederländische Jazzperkussionist Martin Verdonk mit. Früher waren unter anderem der deutsche Bassist Dal Martino und der indonesische Percussionist Nippy Noya als Gäste der Band zu hören. Zudem wurde ab 1989 die Band fast 20 Jahre lang ergänzt um den Schwelmer Gitarristen, Cellisten und Sänger Stefan Wiesbrock.[3]
Der langjährige Gast-Bassist Joschi Kappl wurde mit dem MTV „Lifetime Award“ ausgezeichnet.[4] Heute ist nach einer Pause wieder der Bassist Urs Fuchs mit farfarello unterwegs, der auch 2015 die CD ZeitZone mit einspielte.[5][1] Auf größeren Konzerten gibt es seit 2015 eine Erweiterung mit einem Streichtrio, bestehend aus Violine, Viola und Cello.
Der Brite Chris Thompson spielte zusammen mit farfarello auf der 1990 veröffentlichten Single Sea of emotion. Mit der Neuen Lausitzer Philharmonie produzierte farfarello das 2001 veröffentlichte Album Classics. Gemeinsam mit dem Quintetto Accento nahm farfarello die 2004 über das Label Perleberg veröffentlichte CD Rendez Vous auf.
Beim Album farfarello & freunde von 1998 wirkte unter anderen die Kölner Harfenistin Ulla van Daelen mit.
farfarello unterstützt seit Jahren musikalisch den Lichtkünstler Jörg Rost bei seinen Darbietungen. Der spanische Perkussionist José Cortijo unterstützte im März 2013 das Duo bei dem Projekt „farfarello im Licht“[6] und gehört derzeit ebenfalls zu den regelmäßigen Mitspielern.

luni, 22 ianuarie 2018

Success 2018: Tori Amos, an American singer-songwriter, pianist and composer

Tori Amos (born Myra Ellen Amos,[1] August 22, 1963[2]) is mezzo-soprano vocal range.[10]
an American singer-songwriter, pianist and composer. She is a classically trained musician with a mezzo-soprano vocal range.
Having already begun composing instrumental pieces on piano, Amos won a full scholarship to the Peabody Institute at Johns Hopkins University at the age of five, the youngest person ever to have been admitted. She was expelled at the age of eleven for what Rolling Stone described as "musical insubordination."[11] Amos was the lead singer of the short-lived 1980s pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a broad range of topics, including sexuality, feminism, politics, and religion.[12]
Her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", "Flavor", and "A Sorta Fairytale", her most commercially successful single in the U.S. to date.[13] Amos has received five MTV VMA nominations, eight Grammy nominations, and has won an Echo award for her classical work. She is listed on VH1's "100 Greatest Women of Rock and Roll" list. 

Early life and education

Amos is the third child of Mary Ellen (Copeland) and the Rev. Edison McKinley Amos.[15] She was born at the Old Catawba Hospital in Newton, North Carolina during a trip from their Georgetown home in Washington, D.C. Amos has said that her maternal grandparents each had an Eastern Cherokee grandparent of their own; of particular importance to her as a child was her maternal grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.[16]
When she was two years old, her family moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington, D.C. Her older brother and sister took piano lessons, but Amos didn't need them. From the time she could reach the piano, she taught herself to play: when she was two, she could reproduce pieces of music she had only heard once,[17] and, by the age of three, she was composing her own songs. She has described seeing music as structures of light since early childhood, an experience consistent with chromesthesia:
The song appears as light filament once I've cracked it. As long as I've been doing this, which is more than thirty-five years, I've never seen the same light creature in my life. Obviously similar chord progressions follow similar light patterns, but try to imagine the best kaleidoscope ever—after the initial excitement, you start to focus on each element's stunning original detail. For instance, the sound of the words with the sound of the chord progression combined with the rhythm manifests itself in a unique expression of the architecture of color-and-light. ... I started visiting this world when I was three, listening to a piece by Béla Bartók; I visited a configuration that day that wasn't on this earth. ... It was euphoric.[18]
At five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music.[19][20] She studied classical piano at Peabody from 1968 to 1974.[19] In 1974, when she was 11, her scholarship was discontinued and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.[21][17][22]
In 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At 13, Amos began playing at gay bars and piano bars, chaperoned by her father.[21][17]
Amos won a county teen talent contest in 1977, singing a song called "More Than Just a Friend".[20] As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother Mike Amos for a competition involving the Baltimore Orioles. The song won the contest and became her first single, released as a 7" single pressed locally for family and friends during 1980 with another Amos-penned composition as a B-side, "Walking With You". Before this, she had performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her she looked like a Torrey pine, a tree native to the West Coast.[23][24]

Career

Beginnings

By the time she was 17, Amos had a stock of homemade demo tapes that her father regularly sent out to record companies and producers.[20] Producer Narada Michael Walden responded favorably: he and Amos cut some tracks together, but none were released.[20] Eventually, Atlantic Records responded to one of the tapes, and, when A&R man Jason Flom flew to Baltimore to audition her in person, the label was convinced and signed her.[19]
In 1984, Amos moved to Los Angeles to pursue her music career[20] after several years performing on the piano bar circuit of the D.C. area.

Y Kant Tori Read (1986–88)

In 1986, Amos formed a musical group called Y Kant Tori Read, named for her difficulty sight reading.[25] In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all of her albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. The band went through several iterations of songwriting and recording; Amos has said interference from record executives caused the band to lose its musical edge and direction during this time. Finally, in July 1988, the band's self-titled debut album, Y Kant Tori Read, was released. Although its producer, Joe Chiccarelli, stated that Amos was very happy with the album at the time,[26] Amos has since criticized it, once remarking: "The only good thing about that album is my ankle high boots."[27]
Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien; in the credits, the song is attributed to a band called Tess Makes Good.[28]

The Atlantic years (1990–2001)

Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, which, in 1989, wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.[29] The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault.[19] This album became her commercial and artistic breakthrough, entering the British charts in January 1992 at Number 15.[19] Little Earthquakes was released in the United States in February 1992 and slowly but steadily began to attract listeners, gaining more attention with the video for the single "Silent All These Years".[19]
Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at No. 12 on the Billboard 200,[30] a significantly higher position than the preceding album's position at No. 54 on the same chart.[31] However, the album found its biggest success in the UK, debuting at number one upon release in February 1994.
Imagini pentru tori amos
Her third solo album, Boys for Pele, was released in January 1996. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church's acoustics. For this album, Amos used harpsichord, harmonium, and clavichord as well as the piano. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching No. 2 on the UK Top 40[32] and No. 2 on the Billboard 200 upon its release.[30]
Fueled by the desire to have her own recording studio to distance herself from record company executives, Amos had the barn of her home in Cornwall converted into the state-of-the-art recording studio, Martian Engineering Studios.[33]
From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums as Amos's trademark acoustic piano-based sound is largely replaced with arrangements that include elements of electronica, dance music, and vocal washes. The underlying themes of both albums deal with womanhood and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. Debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.[34] To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.[35]
Shortly after giving birth to her daughter, Amos decided to record a cover album, taking songs written by men about women and reversing the gender roles to reflect a woman's perspective.[36][37] That became Strange Little Girls, released in September 2001. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song.[37] Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.[38]