Coordinates	33°51′35.9″N151°12′40″N
name	Erik Satie
birth name	Erik Alfred Leslie Satie
birth date	May 17, 1866
birth place	Honfleur, France
death date	July 01, 1925
death place	Paris, France
occupation	Pianist, Composer
partner	Suzanne Valadon }}

Éric Alfred Leslie Satie () (17 May 1866 – Paris, 1 July 1925; signed his name Erik Satie after 1884) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.

An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the ''''. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds") preferring this designation to that of a "musician", after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist ''391'' to the American top culture chronicle ''Vanity Fair''. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as and in some of his published writings.

Early life and training

Satie was the son of Alfred Satie, and his wife Jane Leslie (née Anton) who was born in London to Scottish parents. Erik was born at Honfleur in Normandy; his home there is open to the public. When Satie was four years old, his family moved to Paris, his father having been offered a translator's job in the capital. After his mother's death in 1872, he was sent, together with his younger brother Conrad, back to Honfleur, to live with his paternal grandparents. There he received his first music lessons from a local organist. When his grandmother died in 1878, the two brothers were reunited with their father in Paris, who remarried (a piano teacher) shortly afterwards. From the early 1880s onwards, Satie started publishing salon compositions by his step-mother and himself, among others.

In 1879 Satie entered the Paris Conservatoire, where he was soon labelled untalented by his teachers. Georges Mathias, his professor of piano at the Conservatoire, described his pupil's piano technique in flatly negative terms, "insignificant and laborious" and "worthless". Émile Descombes called him "the laziest student in the Conservatoire". Years later Satie related that Mathias, with great insistence, told him that his real talent lay in composing. After being sent home for two and a half years, he was readmitted to the Conservatoire at the end of 1885, but was unable to make a much more favourable impression on his teachers than he had before, and, as a result, resolved to take up military service a year later. However, Satie's military career did not last very long; within a few weeks he left the army through deceptive means.

Career

Montmartre

In 1887 Satie left home to take lodgings in Montmartre. By this time he had started what was to be an enduring friendship with the romantic poet Patrice Contamine, and had had his first compositions published by his father. He soon integrated with the artistic clientele of the Le Chat Noir Café-cabaret, and started publishing his ''Gymnopédies''. Publication of compositions in the same vein ('''', '''', etc.) followed. In the same period he befriended Claude Debussy. He moved to a smaller room, still in Montmartre (), in 1890. By 1891 he was the official composer and chapel-master of the Rosicrucian Order "", led by , which led to compositions such as '''', '''', and the ''''.

By mid-1892 he had composed the first pieces in a compositional system of his own making (''''), had provided incidental music to a chivalric esoteric play (two ''''), had had his first hoax published (announcing the premiere of '''', an anti-Wagnerian opera he probably never composed), and had broken with Péladan, starting that autumn with the ''Uspud'' project, a "Christian Ballet", in collaboration with . While the comrades from both the and sympathised, a promotional brochure was produced for the project, which reads as a pamphlet for a new esoteric sect.

In 1893 he met the young Maurice Ravel for the first time, Satie's style emerging in the first compositions of the youngster. One of Satie's own compositions of that period, the ''Vexations'', was to remain undisclosed until after his death. By the end of the year he had founded the (the Metropolitan Church of Art of the Leading Christ). As its only member, in the role of "Parcier et Maître de Chapelle" he started to compose a '''' (later to become known as the ''''), and wrote a flood of letters, articles and pamphlets showing off his self-assuredness in religious and artistic matters. To give an example: he applied for membership of the Académie Française twice, leaving no doubt in the application letter that the board of that organisation (presided by Camille Saint-Saëns) as much as owed him such membership. Such proceedings without doubt rather helped to wreck his popularity in the cultural establishment. In 1895 he inherited some money, allowing him to have more of his writings printed, and to change from wearing a priest-like habit to being the "Velvet Gentleman".

Move to Arcueil

By mid-1896 all of Satie's financial means had vanished, and he had to move to cheaper and much smaller lodgings, first at the , and two years later, after he'd composed the two first sets of ''' in 1897, to Arcueil, a suburb some five kilometres from the centre of Paris. During this period he re-established contact with his brother Conrad for numerous practical and financial matters, disclosing some of his inner feelings in the process. The letters to Conrad made it clear that he had set aside any religious ideas.

From 1899 on Satie started making money as a cabaret pianist, adapting over a hundred compositions of popular music for piano or piano and voice, adding some of his own. The most popular of these were '''', text by Henry Pacory; '''', text by Vincent Hyspa; '''', a waltz; ''"'', text by Dominique Bonnaud/Numa Blès; '''', a march; '''', text by Contamine de Latour lost, but the music later reappears in ''''; and many more, many of which have been lost. In his later years Satie would reject all his cabaret music as vile and against his nature, but for the time being, it was an income.

Only a few compositions that Satie took seriously remain from this period: ''Jack-in-the-box'', music to a pantomime by Jules Dépaquit (called a "" by Satie), '''', a short comic opera on a serious theme, text by Lord Cheminot, ''The Dreamy Fish'', piano music to accompany a lost tale by Lord Cheminot, and a few others that were mostly incomplete, hardly any of them staged, and none of them published at the time.

Both '''' and ''The Dreamy Fish'' have been analysed by Ornella Volta as containing elements of competition with Claude Debussy, of which Debussy was probably not aware, Satie not making this music public. Meanwhile, Debussy was having one of his first major successes with '''' in 1902, leading a few years later to ‘who-was-precursor-to-whom’ debates between the two composers, in which Maurice Ravel would also get involved.

In October 1905 Satie enrolled in Vincent d'Indy's Schola Cantorum de Paris to study classical counterpoint while still continuing his cabaret work. Most of his friends were as dumbfounded as the professors at the Schola when they heard about his new plan to return to the classrooms, especially as d'Indy was an admiring pupil of Saint-Saëns, not particularly favoured by Satie. Satie would follow these courses at the Schola, as a respected pupil, for more than five years, receiving a first (intermediate) diploma in 1908. Some of his classroom counterpoint-exercises, such as the '''', were published after his death. Another summary, of the period prior to the Schola, also appeared in 1911: the '''', which was a kind of compilation of the best of what he had written up to 1903.

Something that becomes clear through these published compilations is that Satie did not so much reject Romanticism and its exponents like Wagner, but that he rejected certain aspects of it. From his first composition to his last, he rejected the idea of musical development, in the strict definition of this term: the intertwining of different themes in a development section of a sonata form. As a result, his contrapuntal and other works were very short; the "new, modern" Fugues do not extend further than the exposition of the theme(s). Generally, he would say that he did not think it permitted that a composer take more time from his public than strictly necessary. Also Melodrama, in its historical meaning of the then popular romantic genre of "spoken words to a background of music", was something Satie avoided. His 1913 '''' could be seen as an absurdistic spoof of that genre.

In the meantime, other changes had also taken place: Satie had become a member of a radical socialist party, and had socialised with the Arcueil community: Amongst other things, he'd been involved in the "" work for children. He also changed his appearance to that of the 'bourgeois functionary' with bowler hat, umbrella, etc. He channelled his medieval interests into a peculiar secret hobby: In a filing cabinet he maintained a collection of imaginary buildings, most of them described as being made out of some kind of metal, which he drew on little cards. Occasionally, extending the game, he would publish anonymous small announcements in local journals, offering some of these buildings, e.g. a "castle in lead", for sale or rent.

Height of success and influence

Starting in 1912, Satie's new humorous miniatures for piano became very successful, and he wrote and published many of these over the next few years (most of them premiered by the pianist Ricardo Viñes). His habit of accompanying the scores of his compositions with all kinds of written remarks was now well established so that a few years later he had to insist that these not be read out during performances. He had mostly stopped using barlines by this time. In some ways these compositions were very reminiscent of Rossini's compositions from the final years of his life, grouped under the name Péchés de vieillesse.

However the acceleration in Satie's life did not come so much from the success of his new piano pieces; it was Ravel who inadvertently triggered the characteristics of Satie's remaining years and thus influenced the successive progressive artistic and cultural movements that rapidly manifested themselves in Paris over the following years. Paris was seen as the artistic capital of the world, and the beginning of the new century appeared to have set many minds on fire. In 1910 the "", a group of young musicians around Ravel, proclaimed their preference for Satie's earlier work from before the Schola period, reinforcing the idea that Satie had been a precursor of Debussy.

At first Satie was pleased that at least some of his works were receiving public attention, but when he realised that this meant that his more recent work was overlooked or dismissed, he looked for other young artists who related better to his more recent ideas, so as to have better mutual support in creative activity. Thus young artists such as Roland-Manuel, and later Georges Auric, and Jean Cocteau, started to receive more of his attention than the "".

As a result of his contact with Roland-Manuel, Satie again began publicising his thoughts, with far more irony than he had done before (amongst other things, the '''' and '''').

With Jean Cocteau, whom he had first met in 1915, Satie started work on incidental music for a production of Shakespeare's ''A Midsummer Night's Dream'' (resulting in the ''''). From 1916, he and Cocteau worked on the ballet ''Parade'', which was premiered in 1917 by Sergei Diaghilev's Ballets russes, with sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Through Picasso Satie also became acquainted with other cubists, such as Georges Braque, with whom he would work on other, aborted, projects.

With Georges Auric, Louis Durey, Arthur Honegger, and Germaine Tailleferre Satie formed the , shortly after writing ''Parade''. Later the group was joined by Francis Poulenc and Darius Milhaud. In September 1918, Satie – giving little or no explanation – withdrew from the . Jean Cocteau gathered the six remaining members, forming the Groupe des six (to which Satie would later have access, but later again would fall out with most of its members).

From 1919 Satie was in contact with Tristan Tzara, the initiator of the Dada movement. He became acquainted with other artists involved in the movement, such as Francis Picabia (later to become a Surrealist), André Derain, Marcel Duchamp, Jean Hugo and Man Ray, among others. On the day of his first meeting with Man Ray, the two fabricated the artist's first readymade: ''The Gift'' (1921). Satie contributed writing to the Dadaist publication ''391''. In the first months of 1922 he was surprised to find himself entangled in the argument between Tzara and André Breton about the true nature of avant-garde art, epitomised by the failure of the Congrès de Paris. Satie originally sides with Tzara, but manages to maintain friendly relations with most players in both camps. Meanwhile, an "" had formed around Satie, with young musicians like Henri Sauguet, Maxime Jacob, Roger Désormière and Henri Cliquet-Pleyel.

Finally he composed an "" ballet ('''') in collaboration with Picabia, for the of Rolf de Maré. In a simultaneous project, Satie added music to the surrealist film '''' by René Clair, which was given as an intermezzo for ''''.

Personal life

Satie and Suzanne Valadon, an artists' model and artist in her own right, and a long-time friend of Miguel Utrillo (and mother of Maurice Utrillo), began an affair early in 1893. After their first night together, he proposed marriage. The two did not marry, but Valadon moved to a room next to Satie's at the . Satie became obsessed with her, calling her his '''', and writing impassioned notes about "her whole being, lovely eyes, gentle hands, and tiny feet". During their relationship, Satie composed the '''' as a kind of prayer to restore peace of mind, and Valadon painted a portrait of Satie, which she gave to him. After six months she moved away, leaving Satie broken-hearted. Afterwards, he said that he was left with "nothing but an icy loneliness that fills the head with emptiness and the heart with sadness". It is believed this was the only intimate relationship Satie ever had.

Death

After years of heavy drinking, Satie died on 1 July 1925 from cirrhosis of the liver. Over the course of his 27 years in residence at Arcueil, no one had ever visited his room. After his death, Satie's friends discovered compositions that were totally unknown or thought to have been lost. These were found behind the piano, in the pockets of his velvet suits, and in other odd places, and included the ''Vexations''; ''Geneviève de Brabant'' and other unpublished or unfinished stage works; ''The Dreamy Fish''; many Schola Cantorum exercises; a previously unseen set of "canine" piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional '''', '''', '''', and ''furniture music''.

Media

|description=Performed by Robin Alciatore. Courtesy of Musopen|format=ogg}}

Recordings and arrangements

Piano works

Recordings of Satie's piano works have been released by Cristina Ariagno, Jean-Pierre Armengaud, Jean-Joël Barbier, Aldo Ciccolini, Claude Coppens (live recording), Reinbert de Leeuw, Eve Egoyan, Philippe Entremont, Frank Glazer, Olof Höjer, Michel Legrand, Jacques Loussier, Anne Queffélec, Bill Quist, Pascal Rogé, João Paulo Santos, Yūji Takahashi, Branka Parlić, Jean-Yves Thibaudet and Daniel Varsano, among others.

Orchestral and vocal

A recording of historical importance is '''', re-issued by EMI as a 2-CD set, containing among other pieces: ''Geneviève de Brabant'' (in a version before Contamine's text had been recovered), ''Le piège de Méduse'', ''Messe des pauvres'', etc. Many other recordings exist: '''' (Michel Plasson / ), ''Satie: Socrate [etc.]'' (Jean-Paul Fouchécourt / Ensemble), and recordings of songs, e.g., by Anne-Sophie Schmidt.

Arrangements in popular music

In 1968, Blood Sweat & Tears released their eponymous second album, which included an adaptation of Erik Satie's '''' (arranged by Dick Halligan) which they titled as ''Variations on a Theme by Erik Satie (First and Second Movements)''. The first movement is a straightforward elaboration of the basic theme using flutes, an acoustic guitar and a triangle. The second is a far more abstract variation using only brass instruments. In 1969, Halligan received a Grammy Award for Best Instrumental Performance for the piece. In 1974, the jazz flutist Hubert Laws recorded an arrangement by Bob James of the "" in his "In the Beginning" double album. The band featured keyboardist Bob James, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie Laws on tenor sax. In 1979 the band "Sky" (Tristan Fry, Francis Monkman, Kevin Peek, Herbie Flowers, and John Williams) included a version of , which was arranged by John Williams, on the band's first album, which was entitled "Sky" In 1980, Gary Numan's 7-inch "We Are Glass" featured " (First Movement)" on the B-side.

In 1990, Movement 98's (Paul Oakenfold and Steve Osborne) single "Joy and Heartbreak" used the opening phrase of Trois Gymnopedies as the intro and instrumental.

In 1994, Malcolm McLaren arranged Gnossinne 3&4 in his concept album ''Paris''.

In 1999, electronic music act Plaid's CD "Restproof Clockwork" included a track called "Tearisci" which is an uncredited version of Satie's "Pièces Froides, No. 2: Danses De Travers: III. Encore".

In 2000, ex-Genesis guitarist Steve Hackett released the album, "Sketches of Satie", performing Satie's works on acoustic guitar, with contributions by his brother John on flute.

The English electronic duo Isan recorded versions of the three for a 2006 7-inch single, "" on the Morr Music record label. The 2nd movement of his '''' has been used in the original soundtrack of 2010 Japanese animated film ''The Disappearance of Haruhi Suzumiya'' by Kyoto Animation studio. The full ''Gymnopédies'' as long as ''Gnossiennes'' are included in the 2nd CD of this OST.

Ogive Number 2 (incorrectly labelled Ogive Number 1) was re-recorded electronically by William Orbit on his album Pieces in a Modern Style

See also

Ambient music

Dada

Impressionist music

List of compositions by Erik Satie

Surrealism

References

Sources

''In English, unless indicated:''

Writings by Satie

''A Mammal's Notebook: Collected Writings of Erik Satie'' (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and notes by Ornella Volta, translations by Anthony Melville, contains several drawings by Satie)

'''' (Paris: Fayard/Imes, 2000; 1265pp) ISBN 2-213-60674-9 (an almost complete edition of Satie's letters, in French)

Books and Articles on Satie

Allan, Kenneth R. “Metamorphosis in ''391'': A Cryptographic Collaboration by Francis Picabia, Man Ray, and Erik Satie.” ''Art History'' 34, No. 1 (February, 2011): 102-125.

Davis, Mary E., ''Erik Satie''. Reaktion Books – Critical Lives. June 2007. ISBN 9781861893215

Gillmor, Alan M., ''Erik Satie'' (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3

Myers, Rollo H., ''Erik Satie.'' (Dover Publications, New York 1968.) ISBN 0-486-21903-8

Orledge, Robert, ''Satie Remembered'' (London: Faber and Faber, London, 1995)

Orledge, Robert, ''Satie the Composer'' Cambridge University Press: 1990; 437pp – in the series ''Music in the Twentieth Century'' [ed.] Arnold Whittall) ISBN 0-521-35037-9

Templier, Pierre-Daniel (translated by Elena L. French and David S. French), ''Erik Satie'' (The MIT Press, 1969, reissued 1971) ISBN 0-262-70005-0 ''and'' (New York: Da Capo Press, 1980 reissue) ISBN 0-306-76039-8. Note: Templier extensively consulted Conrad, Erik Satie's brother, when writing this first biography that appeared in 1932. The English translation was, however, criticised by John Cage; in a letter to Ornella Volta (25 May 1983) he referred to the translation as disappointing compared to the formidable value of the original biography.

Volta, Ornella and Simon Pleasance, ''Erik Satie'' (Hazan: The Pocket Archives Series, 1997; 200pp) ISBN 2-85025-565-3

Volta, Ornella, transl. Michael Bullock, ''Satie Seen Through His Letters'' (Marion Boyars, 1989) ISBN 0-7145-2980-X

Whiting, Steven, ''Satie the Bohemian: from Cabaret to Concert Hall'' (Oxford: Clarendon Press, 1999; 596pp). A fully researched account of Satie's musical career in what then was regarded as popular music.

Other

Satie Home page – Niclas Fogwall's website dedicated to Satie

External links

Information and listening

Biography and photos

UbuWeb's Erik Satie pages – including an Erik Satie Primer and downloadable recordings

About Erik Satie – The eccentric Impressionist French composer and musician

Erik Satie at Pytheas Center for Contemporary Music

Three Gymnopedies by Eric Satie

erik-satie.com Website dedicated to the musician, with blog, timeline, gallery, biography

Scores

Public domain scores Satie's Scores + Audio

www.kreusch-sheet-music.net Free Scores by Satie

Satie's Scores – by the Mutopia Project

Category:1866 births Category:1925 deaths Category:20th-century classical composers Category:French socialists Category:French people of Scottish descent Category:Cabaret Category:Dada Category:Fin de siècle Category:French classical pianists Category:French composers Category:Neoclassical composers Category:People from Calvados Category:Schola Cantorum de Paris alumni Category:Blue plaques Category:Les six

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Coordinates	33°51′35.9″N151°12′40″N
Name	Erik Hassle
Background	solo_singer
Birth name	Erik Hassle
Born	August 26, 1988Katrineholm, Sweden
Genre	Pop
Occupation	Singer, songwriter
Years active	2005-present
Label	Roxy Recordings (Sweden)Island (UK)Universal Republic (U.S.)
associated acts	Ellie Goulding
Website	www.erikhassle.com }}

Erik Hassle (born 26 August 1988 in Katrineholm, Sweden) is a Swedish pop singer-songwriter.

Biography

Hassle was raised in a rural village two hours south of Stockholm and originally aspired to be a professional footballer. He grew up listening to soul music and realised his love of music early after listening to Wilson Pickett. He attended Rytmus, a musical secondary school in Stockholm where famous Swedish singer Robyn trained, and eventually met his manager Adis Adamsson. He signed a deal with the Swedish music company Artist Company TEN. Through TEN Erik signed to Roxy Recordings for Sweden, Island Records for Europe and Universal Republic for North America.

Music career

Swedish career

Hassle released his first single, "Hurtful" in September 2008. It went to reach #11 in his native Sweden and peaked at #2 in Denmark. He later released his second single "Don't Bring Flowers" which peaked at #25 in Sweden, and his album ''Hassle'' which debuted at #2 and stayed in the Swedish charts for 10 weeks.

International career

On 23 August 2009 Hassle released "Don't Bring Flowers" his first international single. In late 2009 he embarked on touring outside of Sweden and released "Hurtful" in the UK on 2 February 2010. It debuted at #59 and fell off the charts the following week. He altered a few songs his Swedish debut album and re-released the album as ''Pieces'' in the UK. It failed to chart in the UK Albums Chart.

He has been written up as a hot new act in ''The Guardian'' and other major newspapers, and on 19 January 2010, he was awarded the prize for "Newcomer of the Year 2009" at the P3 Guld gala.

Hassle visited Lynn Grove High School playing Don't Bring Flowers, Amelia and his own cover of In for the Kill

He toured with Mika in the UK in early 2010 as the supporting act and was very well received by Mika's fans. He also supported Mika at the closing night of the iTunes Festival in June 2009.

In 19 May 2010 his single, "Hurtful" was picked as "Single of the Week" on iTunes Store, in which people could download his song free.

Hassle released an extended play (EP) entitled ''The Hassle Sessions: Volume One'' consisting of cover songs, on 12 August 2010 in the United Kingdom.

In 2010, Erik Hassle featured the English version of the single "Alors on danse", from the album of the same name by Stromae. The track was made available through Spotify.

“Are You Leaving” was the first single from Erik Hassle’s mini-album Mariefred Sessions. The album was the result of a collaboration between Erik Hassle and Jocke Berg & Martin Sköld from the Swedish band Kent. Mariefred Sessions was released in Sweden on March 23, 2011.

Discography

Albums

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" |+ List of albums, with selected chart positions and certifications ! scope="col" rowspan="2" style="width:9em;"| Title ! scope="col" rowspan="2" style="width:16em;"| Album details ! scope="col" colspan="3"| Peak chart positions |- ! scope="col" style="width:3em;font-size:85%;"|SWE ! scope="col" style="width:3em;font-size:85%;"|DEN ! scope="col" style="width:3em;font-size:85%;"|UK |- ! scope="row" |''Hassle'' |

Released: August 19, 2009

Label: Roxy

Formats: CD, digital download

| 2 || — || — |- ! scope="row" |''Pieces'' |

Released: February 22, 2010

Label: Island

Formats: CD, digital download

| — || 16 || 154 |- ! scope="row" |''Mariefred Sessions'' |

Released: March 23, 2011

Label: Roxy

Formats: CD, digital download

| 11 || — || — |- |colspan="8" style="font-size:9pt"|"—" denotes releases that did not chart. |}

Extended plays

''The Hassle Sessions: Volume One'' (2010)

''Taken EP'' (2010)

Singles

{|class="wikitable" style="text-align:center;" |- ! rowspan="2"| Year ! rowspan="2"| Title ! colspan="3"| Peakpositions ! rowspan="2"| Album |- style="font-size:smaller;" ! style="width:25px;"| SWE ! style="width:25px;"| UK ! style="width:25px;"| DEN |- | 2008 | style="text-align:left;"| "Hurtful" | 11 | 59 | 2 | rowspan="5"| ''Hassle'' /''Pieces'' |- |rowspan="2"|2009 | style="text-align:left;"| "Love Me to Pieces" | — | — | — |- | style="text-align:left;"| "Don't Bring Flowers" | 25 | — | 11 |- |rowspan="2"|2010 | style="text-align:left;"| "Standing Where You Left Me" | 32 | — | — |- | style="text-align:left;"| "Taken (Still in My Blood)" | 55 | — | — |- |align="center" colspan="16" style="font-size: 8pt"| "—" denotes releases that did not chart. |- |}

Year indicates the year the single was first released.

Awards

2010 Danish GAFFA-priset – International Newcomer of the Year

2009 Swedish Grammis – Newcomer of the Year

2009 Swedish P3 Guld – Newcomer of the Year

References

External links

Official website The official website

Erik Hassle fan Street Team Erik Hassle fan Street Team

Category:1988 births Category:Living people Category:Swedish musicians

da:Erik Hassle de:Erik Hassle sv:Erik Hassle

Erik F. Buell (born April 2, 1950 in Pittsburgh, PA) is the founder, former Chairman and Chief Technical Officer of the Buell Motorcycle Company, which eventually merged with Harley-Davidson Corp. Buell is a pioneer of modern race motorcycle technology. Buell is also the founder of Erik Buell Racing.

History

The early years

Buell was raised on a farm in Gibsonia, PA and thus learned to work on machinery at a young age. In his teen years, Buell took up motorcycling. His first ride was an Italian-made Parilla 90cc moped. He attended the University of Pittsburgh.

Motorcycles and motorcycle racing

After his moped, Buell jumped right up to a 74ci basket-case Harley-Davidson. To quote: "To be exact, it was a '57 Panhead in a '52 frame with KHK front end. Red metal flake paint and those crazy two-piece ape hanger handlebars, which would come loose and swing back and forth. I'd shove wads of steel wool into the mufflers to quiet it down for the cops, but when I was really hauling, it would shoot these glowing balls of flame out the back. Man, that's cool stuff when you're a kid!"

Buell raced motocross before becoming interested in road racing in his early 20s. He became an avid part-time road racer and did his racing astride a Ducati in the AMA 'Superbike' class and a Yamaha TZ750 in 'Formula One', despite the aging race program at Yamaha.

During this period, Buell was employed as a motorcycle mechanic during the day and engineering student taking night classes at the University of Pittsburgh.

After receiving his degree in engineering in 1979, Buell landed a job at Harley-Davidson after he flew himself to Milwaukee, WI to get an interview and "beat my way in the door," as Buell put it. While at Harley, he was involved with concept motorcycles, Porsche-designed "Nova" V-four program, and was responsible for considerable stability and refinements to the chassis design of the FXR series of cruisers, noted for their rubber-mounted engines.

While working for Harley-Davidson, Buell’s road racing hobby was slowed. Additionally, as Harley-Davidson went through some hard times in the early 1980s, he didn’t feel right racing a Japanese or Italian motorcycle.

The Barton

Buell first heard of the small, privately held general-purpose engine maker Barton (based in Great Britain) in 1981 - he bought their limited-production racer, powered by a water-cooled 750cc Square Four two-stroke engine. Unfortunately, the bike was very poorly manufactured, used such cheap materials and the engine was plagued with gremlins to the point of being unmanageable. However, with Buell's engineering background (and unwaning optimism), he felt that he could refine the weak points using his own designs and make the engine work for him. Slowly, as parts failed he re-engineered them to increase reliability, and in many cases saw performance gains with his modifications. The chassis was a different story, however - Buell deemed it a lost cause from the beginning and designed his own chassis from the ground up. Nonetheless, the engine would often have failures before even completing a race.

Buell first raced a prototype of his bike, still using the mostly-stock Barton engine, in summer of 1982 at AMA National on the Pocono Speedway. He dubbed it the RW750 (RW standing for Road Warrior). During testing at Talladega, AL, the RW750 was clocked at a top speed of . He raced in the 500cc-dominated Formula One class (the Barton engine was designed prior to 1978 and was grandfathered in to this class by AMA rules). He found some success at the local club levels despite the grossly overpowered, unrefined engine.

In 1982, Barton was shutting down and Buell was given the option to purchase the entire stock of spare engines and parts, all drawings and the rights to produce and sell the engine. Buell did so, but the shipment was delayed such that he missed the opportunity to make full use of this new equipment and knowledge for the upcoming 1983 racing season, which delayed the development of the engine somewhat.

Leaving Harley-Davidson

With the stunted development, Buell's inquiry with his employer to gain engineering and financial support was declined due to continuing reliability problems with mostly stock Barton engine. It was at this point that Buell had to quit his job at Harley-Davidson (parting amicably) in order to devote more time to the development of his racing effort.

The Buell Motor Company

By late 1984, Yamaha TZs were scarce (Yamaha had ceased production of the TZ series) and the competing Hondas were selling for around $30,000. Buell offered his RW750s under the 'Buell Motor Company' marque for $15,900 to much lauding by the press. The American Machinist's Union Racing Team bought, tested and raced the first publicly sold RW750 (commonly known as 'RW750 number 2'), and gave it glowing marks.

Despite all of this, his timing couldn’t have been worse — the AMA announced in the spring of 1985 that the Superbike class would supplant Formula One as the premier road racing class for the 1986 racing season and the Formula One class would be discontinued, leaving Buell with no market for his creation.

Innovation

Despite this staggering setback, Buell forged ahead and designed his first entry into the sportbike market, the RR1000. Using his connections at Harley-Davidson, he acquired a sizeable cache of unused XR1000 racing engines, the powerplant of a model he had ridden to a podium finish at the 1983 Road America Battle of the Twins National, so he had confidence in this engine's potential in the sport market. Around this powerhouse, he designed a stiff, extremely light chassis that incorporated the unconventional rubber-mounting system known as "''the Uniplanar''" that became a patented engineering trademark of Buell sport bikes. The wrap-around fairing design (another innovation by Buell) had lower aerodynamic drag than all but a small handful of even current 21st century sportbikes.

Buell's design incorporated the engine as a fully stressed member of the frame. Capping the engineering firsts in this design was Buell's use of a horizontally-mounted suspension located beneath the motor utilizing a shock that operated in reverse of the conventional compression-rebound design. Fifty RR1000 models were produced during 1987-1988 before the supply of XR1000 engines was depleted.

Buell saw the newly developed 1203cc Harley-Davidson Evolution engine being used in their 'Sportster' model line as solid base platform to further tune the performance and handling qualities of his bikes. The RR1200 model was introduced during 1988 with a redesigned chassis to incorporate a modified version of this very different engine design. Through 1989, 65 were produced for sale.

In 1989, Buell introduced the RS1200 model, a two-seat version of the RR1200 marketed to riders who demanded both world-class performance and desired (at least occasional) passenger capacity. 105 of these then-unusual models were produced through 1990.

In 1991, Buell incorporated a five-speed transmission mated to the 1203cc engine. Buell responded to Harley's revised engine mounting points by further improving an already staggeringly innovative design that was the RS chassis. Stainless steel braided brake lines and a six-piston front brake caliper. Later that same year, Buell introduced a single-seat version of the RS1200 model, dubbed the RSS1200, it won enthusiastic approval of the industry press for its lean, clean lines. Combined production of RSS and RS models totalled 325 through 1993.

Back under Harley-Davidson

Even in 1985, Buell's close relationship with Harley-Davidson enabled him to sell his RR1000s in select dealerships.

In the 1990s, Buell reformed his production house as the 'Buell Motorcycle Company' in which Harley-Davidson invested a 51 percent interest from the company's onset. Harley-Davidson bought complete control of Buell Motorcycle in 2003, and distributed all Buell motorcycles through selected Harley-Davidson dealerships. Erik Buell remained responsible for the engineering and design of all Buell motorcycles. On October 15, 2009, Harley Davidson announced that all production of Buell motorcycles would cease on October 30, 2009. In November 2009, Buell launched Erik Buell Racing, which will continue to produce race-only versions of the Buell 1125R.

Honors

In 2002 Buell was inducted into the AMA Motorcycle Hall of Fame.

The very first (prototype) RW750 eventually found its fate as pieces in Erik's barn workshop, as is common for development machines. In 1998 a group of long-time Buell employees and supporters worked in secret to reassemble this bike using as many original pieces as they could find, hand crafting any missing pieces to bring it as close as possible to its 1983 racing condition. A new Buell 850cc engine out of a D-sports racing car was used as the powerplant. The reborn bike was given to Erik Buell at the 1998 Race of Champions event, as a complete surprise to him. He was brought to tears and his knees made weak.

The September 2011 issue of ''MotorCyclist'' magazine names Erik Buell the 2011 Motorcyclist Of The Year.

References

External links

Buell Motorcycles website

Erik Buell Racing website

Category:1950 births Category:American engineers Category:American motorcycle racers Category:Living people Category:University of Pittsburgh alumni Category:Buell motorcycles Category:Motorcycle Hall of Fame inductees Category:Motorcycle designers

it:Erik Buell

Carl Erik is an actor in gay pornography.

Awards and nominations

1996 Grabby Awards winner of ''Promising New Performer" in "Trying it on for Size" (Studio 2000).

See also

List of pornographic movie studios

List of Grabby recipients

List of male performers in gay porn films

List of pornographic movie studios

List of gay porn magazines

References

External links

Category:Actors in gay pornographic films Category:Living people

fa:کارل اریک id:Carl Erik

Coordinates	33°51′35.9″N151°12′40″N
name	Erik Truffaz
landscape	yes
background	non_vocal_instrumentalist
birth name	Erik Truffaz
born	c. 1960
origin	Switzerland
instrument	Trumpet
genre	Jazz fusionAcid jazzPost bop
occupation	Trumpeter
years active	1990s–present
label	Blue Note Records (current)EMI
associated acts	Erik Truffaz Ladyland QuartetMatt PenmanThor Madsen
website	Official Website
notable instruments	}}

Erik Truffaz (born 1960 in Switzerland) is a Swiss-born French jazz trumpeter, infusing elements of hip hop, rock and roll and dance music into his compositions. He signed with the French EMI label in 1996. Truffaz gained international attention with his second album on Blue Note, ''The Dawn'', produced together with Pat Muller, Marcello Giuliani and Mark Erbetta. Since then they have produced many Blue Note albums together such as ''Bending New Corners'', which became a Silver Album in France. The 2007 release Arkhangelsk is a mixture of pop songs, French ''chanson'', and jazz-groove. In 2007 he and Ed Harcourt appeared in a ''Take-Away Show'' video session shot by Vincent Moon.

Discography

In between (2010)

Benares (2008)

Mexico (2008)

Paris (2008)

Arkhangelsk (2007)

Face-à-face (2CD Live + DVD) (2006)

Saloua (2005)

The Walk of the Giant Turtle (2003)

Magrouni (2002)

Revisité (2001)

Mantis (2001)

The Mask (2000)

Bending New Corners (1999)

The Dawn (1998)

Out of a Dream (1997)

Nina Valéria (1994)

External links

Official site

A documentary about the recording of Erik Truffaz's album 'Arkhangelsk' featuring Nya, Christophe & Ed Harcourt.

Category:Acid jazz trumpeters Category:Jazz fusion trumpeters Category:Post-bop trumpeters Category:Swiss jazz trumpeters Category:French jazz trumpeters Category:1960 births Category:Living people

cs:Erik Truffaz de:Erik Truffaz es:Erik Truffaz fr:Erik Truffaz lb:Erik Truffaz no:Erik Truffaz pl:Erik Truffaz pt:Erik Truffaz sv:Erik Truffaz