A gold rush is a period of feverish migration of workers into the area of dramatic discovery of gold. Major gold rushes took place in the 19th century in Australia, Brazil, Canada, South Africa, and the United States, while smaller gold rushes took place elsewhere.
In the 19th and early 20th centuries, there were several major gold rushes. The permanent wealth that resulted was distributed widely because of reduced migration costs and low barriers to entry. While gold mining itself was unprofitable for most diggers and mine owners, some people made large fortunes, and the merchants and transportation facilities made large profits. The resulting increase in the world's gold supply stimulated global trade and investment. Historians have written extensively about the migration, trade, colonization, and environmental history associated with gold rushes.
Gold rushes were typically marked by a general buoyant feeling of a "free for all" in income mobility, in which any single individual might become abundantly wealthy almost instantly, as expressed in the California Dream.
Gold rushes helped spur a huge immigration that often led to permanent settlement of new regions and define a significant part of the culture of the Australian and North American frontiers. As well, at a time when the world's money supply was based on gold, the newly-mined gold provided economic stimulus far beyond the gold fields.
Gold rushes presumably extend back as far as gold mining, to the Roman Empire, whose gold mining was described by Diodorus Siculus and Pliny the Elder, and probably further back to Ancient Egypt.
Within each mining rush there is typically a transition through progressively higher capital expenditures, larger organizations, and more specialized knowledge. They may also progress from high-unit value to lower unit value minerals (from gold to silver to base metals).
The rush is started by a discovery of placer gold made by an individual. At first the gold may be washed from the sand and gravel by individual miners with little training, using a gold pan or similar simple instrument. Once it is clear that the volume of gold-bearing sediment is larger than a few cubic metres, the placer miners will build rockers or sluice boxes, with which a small group can wash gold from the sediment many times faster than using gold pans. ''(See placer mining for details.)'' Winning the gold in this manner requires almost no capital investment, only a simple pan or equipment that may be built on the spot, and only simple organization. The low investment, the high value per unit weight of gold, and the ability of gold dust and gold nuggets to serve as a medium of exchange, allow placer gold rushes to occur even in remote locations.
After the sluice-box stage, placer mining may become increasingly large scale, requiring larger organizations, and higher capital expenditures. Small claims owned and mined by individuals may need to be merged into larger tracts. Difficult-to-reach placer deposits may be mined by tunnels. Water may be diverted by dams and canals to placer mine active river beds or to deliver water needed to wash dry placers. The more advanced techniques of ground sluicing, hydraulic mining, and dredging may be used.
Typically the heyday of a placer gold rush would last only a few years. The free gold supply in stream beds would become depleted somewhat quickly, and the initial phase would be followed by prospecting for veins of lode gold that were the original source of the placer gold. Hard rock mining, like placer mining, may evolve from low capital investment and simple technology to progressively higher capital and technology. The surface outcrop of a gold-bearing vein may be oxidized, so that the gold occurs as native gold, and the ore needs only to be crushed and washed (free milling ore). The first miners may at first build a simple arrastra to crush their ore; later, they may build stamp mills to crush ore more quickly. As the miners dig down, they may find that the deeper part of vein contains gold locked in sulfide or telluride minerals, which will require smelting. If the ore is still sufficiently rich, it may be worth shipping to a distant smelter (direct shipping ore). Lower-grade ore may require on-site treatment to either recover the gold or to produce a concentrate sufficiently rich for transport to the smelter. As the district turns to lower-grade ore, the mining may change from underground mining to large open-pit mining.
Many silver rushes followed upon gold rushes. As transportation and infrastructure improve, the focus may change progressively from gold to silver to base metals. In this way, Leadville, Colorado started as a placer gold discovery, achieved fame as a silver-mining district, then relied on lead and zinc in its later days. Butte, Montana began mining placer gold, then became a silver-mining district, then became for a time the world’s largest copper producer.
Gold rushes happened at or around:
South African gold production went from zero in 1886 to 23% of the total world output in 1896. At the time of the South African rush, gold production benefited from the newly discovered techniques by Scottish chemists, the MacArthur-Forrest process, of using potassium cyanide to extract gold from low-grade ore.
Category:History of mining Category:Gold mining
ar:حمى الذهب az:Qızıl hərisliyi be:Залатая ліхаманка be-x-old:Залатая ліхаманка ca:Quimera de l'or cs:Zlatá horečka da:Guldfeber de:Goldrausch et:Kullapalavik es:Fiebre del oro eo:Orimpetego fr:Ruée vers l'or ko:골드 러시 hi:स्वर्ण होड़ it:Corsa all'oro lt:Aukso karštinė hu:Aranyláz nl:Goudkoorts ja:ゴールドラッシュ no:Gullrush pl:Gorączka złota pt:Febre do ouro ru:Золотая лихорадка simple:Gold rush sk:Zlatá horúčka fi:Kultaryntäys sv:Guldrush tr:Altına hücum zh:淘金潮This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Ed Sheeran |
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background | solo_singer |
birth name | Edward Sheeran |
birth date | February 17, 1991 |
origin | Suffolk, UK |
instrument | Vocals, guitar loop pedals |
genre | Folk rock, acoustic, hip-hop, grime |
occupation | Singer, songwriter |
years active | 2005–present |
label | Asylum / Atlantic Records (2011–present) |
associated acts | James Morrison, Jason Mraz Example, Just Jack, Nizlopi, Elro, Devlin, Wiley, Ella Marcham, Ghetts, P Money, Mikill Pane, Wretch 32, Sway DaSafo, Lewis Watson, Griminal, Jamie Woon, Yasmin |
website | |
notable instruments | }} |
Edward "Ed" Sheeran (born 17 February 1991) is an English singer/songwriter who is currently signed to Asylum / Atlantic Records. Sheeran broke through commercially in June 2011, when his debut single "The A Team" debuted at number 3 on the UK chart.
In 2009, Sheeran played 312 gigs. He said that he read an interview with James Morrison that said that Morrison had done 200 gigs in a year, and Sheeran wanted to beat him on this number.Also in 2009, he released another EP, ''You Need E's'', just before going on tour with Just Jack. In February 2010 Sheeran posted a video through SB.TV, which led to mainstream rapper Example asking Sheeran to tour with him. Also in February 2010 he released his second independent release, his critically acclaimed ''Loose Change'' EP, which featured one of his most popular songs "The A Team". A video was made for the song, and cost only £20 to make. This was also his debut single once he was signed.
In April 2010, after leaving his old management company, Sheeran bought a ticket to Los Angeles, with no contacts other than one poetry night. He played open mic nights all over the city, before being spotted at 'The Foxxhole' by Jamie Foxx, who invited him to stay at his house and record for the rest of his stay. Throughout 2010, Sheeran began to be seen by more people over the internet through YouTube and his fan-base grew, with him also getting credit from ''The Independent'' newspaper, England football captain Rio Ferdinand and Elton John. Sheeran released three more EPs in 2010, including ''Ed Sheeran: Live at the Bedford'' and ''Songs I Wrote With Amy'' which is a collection of love songs he wrote in Wales with fellow singer songwriter Amy Wadge.
On 26 April, Sheeran appeared on the TV music show ''Later... with Jools Holland'' – where he performed the song "The A Team". Six weeks later "The A Team" was released as a digital download in the United Kingdom. The release served as the lead single from Sheeran's upcoming debut studio album, entitled ''+'' – which is due for release through Atlantic Records on 12 September 2011. "The A Team" entered the UK chart at number 3, selling over 58,000 copies in the first week. It was congratulated on being the highest-selling and highest-charting debut single of 2011.
During a headline set in the BBC Introducing tent at Glastonbury Festival 2011, Sheeran announced that "You Need Me" would be released on 28 August as the second single from the album.
Sheeran will also be performing at the Festival Republic Stage during the Reading festival, and will perform on the main stage of the 2011 Jersey Live festival.
Year | Title | Album | Artist |
2011 | "Hush Little Baby" | ''Black and White'' | Wretch 32 |
Category:1991 births Category:Living people Category:British singer-songwriters
de:Ed Sheeran ru:Ширан, ЭдThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Basia Bulat |
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background | solo_singer |
birth place | Toronto, Ontario, Canada |
origin | London, Ontario |
instrument | Vocals, guitar, autoharp, hammered dulcimer, piano, ukelele, charango |
genre | Folk |
occupation | Musician, songwriter |
years active | 2004–present |
label | Rough Trade, Hardwood, Secret City |
website | |
notable instruments | }} |
Basia Bulat (), is a Canadian folk singer-songwriter. She is known for performing with an autoharp.
She released an independent EP in 2005 and was subsequently signed to Rough Trade Records, which released her full-length debut album, ''Oh, My Darling'' in April 2007. The album was later released in Canada by Hayden's Hardwood Records.
Her singles "Snakes and Ladders", "Little One" and "I Was a Daughter" have been playlisted on CBC Radio 3 while various tracks have received airplay on college radio in Canada and the United States. Her album ''Oh, My Darling'' made the short list for the 2008 Polaris Music Prize.
Bulat has toured across Canada, the U.S., Europe; in June 2008, she ventured to Australia. She played the 2008 Dawson City Music Festival in the Yukon. Bulat cited the week she spent in the quiet and remote location as an inspiration for her songwriting.
Her second album, ''Heart of My Own'', was released by Rough Trade Records in the US and Canada on January 26, 2010. It will be followed by a North American tour, with additional two concerts scheduled in London and Paris.
Category:Living people Category:Canadian female singers Category:Canadian pop singers Category:Canadian singer-songwriters Category:People from London, Ontario Category:Canadian people of Polish descent Category:University of Western Ontario alumni Category:Year of birth missing (living people)
fr:Basia Bulat pl:Basia Bulat sv:Basia BulatThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Charlie Chaplin |
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birth name | |
birth date | April 16, 1889 |
birth place | Walworth, London, United Kingdom |
death date | |
death place | Vevey, Vaud, Switzerland |
medium | Film, music, mimicry |
nationality | British |
active | 1895–1976 |
genre | Slapstick, mime, visual comedy |
influenced | Marcel MarceauThe Three StoogesFederico FelliniMilton BerlePeter SellersRowan AtkinsonJohnny DeppJacques Tati |
spouse | 1 child 2 children 8 children |
Signature | Firma de Charles Chaplin.svg }} |
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 25 December 1977) was an English comic actor, film director and composer best known for his work during the silent film era. He became the most famous film star in the world before the end of World War I. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first played in the Keystone comedy ''Kid Auto Races at Venice'' in 1914. From the April 1914 one-reeler ''Twenty Minutes of Love'' onwards he was writing and directing most of his films, by 1916 he was also producing them, and from 1918 he was even composing the music for them. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.
Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. His working life in entertainment spanned over 75 years, from the Victorian stage and the music hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s.
In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time. In 2008, Martin Sieff, in a review of the book ''Chaplin: A Life'', wrote: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Adolf Hitler, he stayed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most". George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
As a child, Chaplin also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street and 39 Methley Street. His paternal grandmother's mother was from the Smith family of Romanichals, a fact of which he was extremely proud, though he described it in his autobiography as "the skeleton in our family cupboard". Charles Chaplin Sr. was an alcoholic and had little contact with his son, though Chaplin and his half-brother briefly lived with him and his mistress, Louise, at 287 Kennington Road. The half-brothers lived there while their mentally ill mother lived at Cane Hill Asylum at Coulsdon. Chaplin's father's mistress sent the boy to Archbishop Temple's Boys School. His father died of cirrhosis when Charlie was twelve in 1901. As of the 1901 Census, Chaplin resided at 94 Ferndale Road, Lambeth, as part of a troupe of young male dancers, The Eight Lancashire Lads, managed by William Jackson.
A larynx condition ended the singing career of Hannah Chaplin. After her re-admission to the Cane Hill Asylum, her son was left in the workhouse at Lambeth in south London, moving several weeks later to the Central London District School for paupers in Hanwell.
In 1903 Chaplin secured the role of Billy the pageboy in ''Sherlock Holmes'', written by William Gillette and starring English actor H. A. Saintsbury. Saintsbury took Chaplin under his wing and taught him to marshal his talents. In 1905 Gillette came to England with Marie Doro to debut his new play, ''Clarice'', but the play did not go well. When Gillette staged his one-act curtain-raiser, ''The Painful Predicament of Sherlock Holmes'' as a joke on the British press, Chaplin was brought in from the provinces to play Billy. When ''Sherlock Holmes'' was substituted for ''Clarice'', Chaplin remained as Billy until the production ended on 2 December. During the run, Gillette coached Chaplin in his restrained acting style. It was during this engagement that the teenage Chaplin fell hopelessly in love with Doro, but his love went unrequited and Doro returned to America with Gillette when the production closed.
They met again in Hollywood eleven years later. She had forgotten his name but, when introduced to her, Chaplin told her of being silently in love with her and how she had broken his young heart. Over dinner, he laid it on thick about his unrequited love. Nothing came of it until two years later, when they were both in New York and she invited him to dinner and a drive. Instead, Chaplin noted, they simply “dined quietly in Marie’s apartment alone.” However, as Kenneth Lynn pointed out, “Chaplin would not have been Chaplin if he had simply dined quietly with Marie.”
Sennett did not warm to Chaplin right away, and Chaplin believed Sennett intended to fire him following a disagreement with Normand. However, Chaplin's pictures were soon a success, and he became one of the biggest stars at Keystone.
Chaplin was given over to Normand, who directed and wrote a handful of his earliest films. Chaplin did not enjoy being directed by a woman, and they often disagreed. Eventually, the two worked out their differences and remained friends long after Chaplin left Keystone.
"The Tramp" is a vagrant with the refined manners, clothes, and dignity of a gentleman. Arbuckle contributed his father-in-law's bowler hat ('derby') and his own pants (of generous proportions). Chester Conklin provided the little cutaway tailcoat, and Ford Sterling the size-14 shoes, which were so big, Chaplin had to wear each on the wrong foot to keep them on. He devised the moustache from a bit of crepe hair belonging to Mack Swain. The only thing Chaplin himself owned was the whangee cane.
Chaplin, with his Little Tramp character, quickly became the most popular star in Sennett's company of players. He immediately gained enormous popularity among cinema audiences. "The Tramp", Chaplin's principal character, was known as "Charlot" in the French-speaking world, Italy, Spain, Andorra, Portugal, Greece, Romania and Turkey, "Carlitos" in Brazil and Argentina, and "Der Vagabund" in Germany.
Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions (in only a handful of other productions did he play characters other than the Tramp). He portrayed a Keystone Kop in ''A Thief Catcher'' filmed 5–26 Jan 1914.
The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. The 1931 production ''City Lights'' featured no dialogue. Chaplin officially retired the character in the film ''Modern Times'' (released 5 February 1936), which appropriately ended with the Tramp walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song.
Chaplin's early Keystones use the standard Mack Sennett formula of extreme physical comedy and exaggerated gestures. Chaplin's pantomime was subtler, more suitable to romantic and domestic farces than to the usual Keystone chases and mob scenes. The visual gags were pure Keystone, however; the tramp character would aggressively assault his enemies with kicks and bricks. Moviegoers loved this cheerfully earthy new comedian, even though critics warned that his antics bordered on vulgarity. Chaplin was soon entrusted with directing and editing his own films. He made 34 shorts for Sennett during his first year in pictures, as well as the landmark comedy feature ''Tillie's Punctured Romance''.
The Tramp was featured in the first film trailer to be exhibited in a U.S. cinema, a slide promotion developed by Nils Granlund, advertising manager for the Marcus Loew theatre chain, and shown at the Loew's Seventh Avenue Theatre in Harlem in 1914. In 1915, Chaplin signed a much more favourable contract with Essanay Studios, and further developed his cinematic skills, adding new levels of depth and pathos to the Keystone-style slapstick. Most of the Essanay films were more ambitious, running twice as long as the average Keystone comedy. Chaplin also developed his own stock company, including ingénue Edna Purviance and comic villains Leo White and Bud Jamison.
Chaplin's popularity continued to soar in the early years following the start of WW1. He started to become noticed by stars of the legitimate theatre. Minnie Maddern Fiske, one of the legends of the stage endorsed Chaplin's artistry in an article in Harper's Weekly(6 May 1915). At the start of her article Mrs. Fiske spoke, "...To the writer Charles Chaplin appears as a great comic artist, possessing inspirational powers and a technique as unfaltering as Rejane's. If it be treason to Art to say this, then let those exalted persons who allow culture to be defined only upon their own terms make the most of it..." In the following years Chaplin would make many friends from the world of the Broadway stage.
Chaplin was emerging as the supreme exponent of silent films, an emigrant himself from London. Chaplin's Tramp enacted the difficulties and humiliations of the immigrant underdog, the constant struggle at the bottom of the American heap and yet he triumphed over adversity without ever rising to the top, and thereby stayed in touch with his audience. Chaplin's films were also deliciously subversive. The bumbling officials enabled the immigrants to laugh at those they feared.
Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs serviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-film market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound films in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects.
At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed these pictures (1918–23) but otherwise gave him complete creative control over production. Chaplin now had his own studio, and he could work at a more relaxed pace that allowed him to focus on quality. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including ''Shoulder Arms'' (1918), ''The Pilgrim'' (1923) and the feature-length classic ''The Kid'' (1921).
In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s.
All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, ''A Woman of Paris'' (1923). This was followed by the classic comedies ''The Gold Rush'' (1925) and ''The Circus'' (1928).
After the arrival of sound films, Chaplin continued to focus on silent films with a synchronised recorded score, which included sound effects and music with melodies based in popular songs or composed by him; ''The Circus'' (1928), ''City Lights'' (1931), and ''Modern Times'' (1936) were essentially silent films. ''City Lights'' has been praised for its mixture of comedy and sentimentality. Critic James Agee, for example, wrote in ''Life'' magazine in 1949 that the final scene in ''City Lights'' was the "greatest single piece of acting ever committed to celluloid".
While ''Modern Times'' (1936) is a non-talkie, it does contain talk—usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. ''Modern Times'' was the first film where Chaplin's voice is heard (in the nonsense song at the end, which Chaplin both performed and wrote the nonsense lyrics to). However, for most viewers it is still considered a silent film.
Although "talkies" became the dominant mode of film making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema essentially a pantomimic art. He said: "Action is more generally understood than words. Like Chinese symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example; then look at a picture of the animal and see how surprised you are".
It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film ''Limelight'', and another as a singer for the title music of ''The Circus'' (1928). The best known of several songs he composed are "Smile", composed for the film ''Modern Times'' (1936) and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, ''A Countess from Hong Kong'', was a number one hit in several different languages in the late 1960s (most notably the version by Petula Clark and discovery of an unreleased version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from ''Limelight'' was a hit in the 1950s under the title "Eternally." Chaplin's score to ''Limelight'' won an Academy Award in 1972; a delay in the film premiering in Los Angeles made it eligible decades after it was filmed. Chaplin also wrote scores for his earlier silent films when they were re-released in the sound era, notably ''The Kid'' for its 1971 re-release.
Paulette Goddard filmed with Chaplin again, depicting a woman in the ghetto. The film was seen as an act of courage in the political environment of the time, both for its ridicule of Nazism, for the portrayal of overt Jewish characters, and the depiction of their persecution. In addition to Hynkel, Chaplin also played a look-alike Jewish barber persecuted by the regime. The barber physically resembled the Tramp character.
At the conclusion, the two characters Chaplin portrayed swapped positions through a complex plot, and he dropped out of his comic character to address the audience directly in a speech denouncing dictatorship, greed, hate, and intolerance, in favour of liberty and human brotherhood.
The film was nominated for Academy awards for Best Picture (producer), Best Original Screenplay (writer) and Best Actor.
In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of ''Limelight''. Hoover learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. Chaplin decided not to re-enter the United States, writing: "Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States."
That Chaplin was unprepared to remain abroad, or that the revocation of his right to re-enter the United States by FBI Director J. Edgar Hoover was a surprise to him, may be apocryphal: An anecdote in some contradiction is recorded during a broad interview with Richard Avedon, celebrated New York portraitist.
Avedon is credited with the last portrait of the entertainer to be taken before his departure to Europe and therefore, the last photograph of him as a singularly “American icon.” According to Avedon, Chaplin telephoned him at his studio in New York City, while on a layover for transportation connections before the final leg of his travel to England. The photographer considered the impromptu self-introduction a prank and angrily answered his caller with the riposte, “If you’re Charlie Chaplin, I’m Franklin Roosevelt!” To mollify Avedon, Chaplin assured the photographer of his authenticity and added the comment, “If you want to take my picture, you better do it now. They are coming after me and I won’t be back. I leave ... (imminently).” Avedon interrupted his production commitments to take Chaplin’s portrait the next day, and never personally saw Chaplin again.
Chaplin then made his home in Vevey, Switzerland. He briefly and triumphantly returned to the United States in April 1972, with his wife, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed.
Chaplin's final two films were made in London: ''A King in New York'' (1957) in which he starred, wrote, directed and produced; and ''A Countess from Hong Kong'' (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films with the theme song from ''A Countess From Hong Kong,'' "This is My Song", reaching number one in the UK as sung by Petula Clark. Chaplin also compiled a film ''The Chaplin Revue'' from three First National films ''A Dog's Life'' (1918), ''Shoulder Arms'' (1918) and ''The Pilgrim'' (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote ''My Autobiography,'' between 1959 and 1963, which was published in 1964.
In his pictorial autobiography ''My Life In Pictures'', published in 1974, Chaplin indicated that he had written a screenplay for his daughter, Victoria; entitled ''The Freak'', the film would have cast her as an angel. According to Chaplin, a script was completed and pre-production rehearsals had begun on the film (the book includes a photograph of Victoria in costume), but were halted when Victoria married. "I mean to make it some day," Chaplin wrote. However, his health declined steadily in the 1970s which hampered all hopes of the film ever being produced.
From 1969 until 1976, Chaplin wrote original music compositions and scores for his silent pictures and re-released them. He composed the scores of all his First National shorts: ''The Idle Class'' in 1971 (paired with The Kid for re-release in 1972), ''A Day's Pleasure'' in 1973, ''Pay Day'' in 1972, ''Sunnyside'' in 1974, and of his feature length films firstly ''The Circus'' in 1969 and ''The Kid'' in 1971. Chaplin worked with music associate Eric James whilst composing all his scores.
Chaplin's last completed work was the score for his 1923 film ''A Woman of Paris'', which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult.
Chaplin was interred in Corsier-Sur-Vevey Cemetery, Switzerland. On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family. The plot failed; the robbers were captured, and the corpse was recovered eleven weeks later near Lake Geneva. His body was reburied under of concrete to prevent further attempts.
This is one reason why Chaplin took so much longer to complete his films than his rivals did. In addition, Chaplin was an incredibly exacting director, showing his actors exactly how he wanted them to perform and shooting scores of takes until he had the shot he wanted. Animator Chuck Jones, who lived near Charlie Chaplin's Lone Star studio as a boy, remembered his father saying he watched Chaplin shoot a scene more than a hundred times until he was satisfied with it. This combination of story improvisation and relentless perfectionism—which resulted in days of effort and thousands of feet of film being wasted, all at enormous expense—often proved very taxing for Chaplin, who in frustration would often lash out at his actors and crew, keep them waiting idly for hours or, in extreme cases, shutting down production altogether.
The three had different styles: Chaplin had a strong affinity for sentimentality and pathos (which was popular in the 1920s), Lloyd was renowned for his everyman persona and 1920s optimism, and Keaton adhered to onscreen stoicism with a cynical tone more suited to modern audiences.
Commercially, Chaplin made some of the highest-grossing films in the silent era; ''The Gold Rush'' is the fifth with US$4.25 million and ''The Circus'' is the seventh with US$3.8 million. However, Chaplin's films combined made about US$10.5 million while Harold Lloyd's grossed US$15.7 million. Lloyd was far more prolific, releasing twelve feature films in the 1920s while Chaplin released just three. Buster Keaton's films were not nearly as commercially successful as Chaplin's or Lloyd's even at the height of his popularity, and only received belated critical acclaim in the late 1950s and 1960s.
There is evidence that Chaplin and Keaton, who both got their start in vaudeville, thought highly of one another: Keaton stated in his autobiography that Chaplin was the greatest comedian that ever lived, and the greatest comedy director, whereas Chaplin welcomed Keaton to United Artists in 1925, advised him against his disastrous move to MGM in 1928, and for his last American film, ''Limelight'', wrote a part specifically for Keaton as his first on-screen comedy partner since 1915.
Chaplin declined to support the war effort as he had done for World War I which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with actress Joan Barry (see below). After the war, his 1947 black comedy, ''Monsieur Verdoux'' showed a critical view of capitalism. Chaplin's final American film, ''Limelight'', was less political and more autobiographical in nature. His following European-made film, ''A King in New York'' (1957), satirised the political persecution and paranoia that had forced him to leave the U.S. five years earlier.
On religion, Chaplin wrote in his autobiography, “In Philadelphia, I inadvertently came upon an edition of Robert Ingersoll's Essays and Lectures. This was an exciting discovery; his atheism confirmed my own belief that the horrific cruelty of the Old Testament was degrading to the human spirit.”
For Chaplin's entire career, some level of controversy existed over claims of Jewish ancestry. Nazi propaganda in the 1930s and 40s prominently portrayed him as Jewish (named Karl Tonstein) relying on articles published in the U.S. press before, and FBI investigations of Chaplin in the late 1940s also focused on Chaplin's ethnic origins. There is no documentary evidence of Jewish ancestry for Chaplin himself. For his entire public life, he fiercely refused to challenge or refute claims that he was Jewish, saying that to do so would always "play directly into the hands of anti-Semites." Although baptised in the Church of England, Chaplin was thought to be an agnostic for most of his life.
Chaplin's lifelong attraction to younger women remains another enduring source of interest to some. His biographers have attributed this to a teenage infatuation with Hetty Kelly, whom he met in Britain while performing in the music hall, and which possibly defined his feminine ideal. Chaplin clearly relished the role of discovering and closely guiding young female stars; with the exception of Mildred Harris, all of his marriages and most of his major relationships began in this manner.
The South African duo Locnville, Andrew and Brian Chaplin, are related to Chaplin (their grandfather was Chaplin's first cousin).
! Child | ! Birth | ! Death | ! Chaplin's Age at Time of Birth | ! Mother | ! Grandchildren |
Norman Spencer Chaplin | 7 July 1919 | 10 July 1919 | |
Mildred Harris | |
5 May 1925 | 20 March 1968 | |
Susan Maree Chaplin (b 1959) | ||
31 March 1926 | 3 March 2009 | |
Stephan Chaplin (b 19xx) | ||
Carol Ann Barry Chaplin (Disputed) | 2 October 1943 | |
Unknown | ||
31 July 1944 | |
Shane Saura Chaplin (b 1974) Oona Castilla Chaplin (b 1986) | |||
7 March 1946 | |
Kathleen Chaplin (b. 1975) Dolores Chaplin (b. 1979) Carmen Chaplin (b 19xx) George Chaplin (b 19xx) | |||
28 March 1949 | |
Julien Ronet (b. 1980) | |||
Victoria Chaplin | 19 May 1951 | |
Aurélia Thiérrée (b. 1971) James Thiérrée (b. 1974) | ||
23 August 1953 | |
Kiera Chaplin (b. 1982) | |||
Jane Cecil Chaplin | 23 May 1957 | |
|||
Annette Emily Chaplin | 3 December 1959 | |
Orson Salkind (b. 1986) Osceola Salkind (b. 1994) | ||
6 July 1962 | |
Chaplin was knighted in 1975 at the age of 85 as a Knight Commander of the British Empire (KBE) by Queen Elizabeth II. The honour had been first proposed in 1931. Knighthood was suggested again in 1956, but was vetoed after a Foreign Office report raised concerns over Chaplin's purported "communist" views and his moral behaviour in marrying two 16 year girls; it was felt that honouring him would damage both the reputation of the British honours system and relations with the United States.
Among other recognitions, Chaplin was given a star on the Hollywood Walk of Fame in 1970; that he had not been among those originally honoured in 1961 caused some controversy. Chaplin's Swiss mansion is to be opened as a museum tracing his life from the music halls in London to Hollywood fame.
A statue of Charlie Chaplin was made by John Doubleday, to stand in Leicester Square in London. It was unveiled by Sir Ralph Richardson in 1981. A bronze statue of him is at Waterville, County Kerry.
The 1st Academy Awards ceremony: When the first Oscars were awarded on 16 May 1929, the voting audit procedures that now exists had not yet been put into place, and the categories were still very fluid. Chaplin's ''The Circus'' was set to be heavily recognised, as Chaplin had originally been nominated for Best Production, Best Director in a Comedy Picture, Best Actor and Best Writing (Original Story). However, the Academy decided to withdraw his name from all the competitive categories and instead give him a Special Award "for versatility and genius in acting, writing, directing and producing ''The Circus''". The only other film to receive a Special Award that year was ''The Jazz Singer''.
A listing of the dozens of Chaplin films and alternate versions can be found in the Ted Okuda-David Maska book ''Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp''. Thanks to The Chaplin Keystone Project, efforts to produce definitive versions of Chaplin's pre-1918 short films have come to a successful end: after ten years of research and clinical international cooperation work, 34 Keystone films have been fully restored and published in October 2010 on a 4-DVD box set. All twelve Mutual films were restored in 1975 by archivist David Shepard and Blackhawk Films, and new restorations with even more footage were released on DVD in 2006.
Today, nearly all of Chaplin's output is owned by Roy Export S.A.S. in Paris, which enforces the library's copyrights and decides how and when this material can be released. French company MK2 acts as worldwide distribution agent for the Export company. In the U.S. as of 2010, distribution is handled under license by Janus Films, with home video releases from Criterion Collection, affiliated with Janus.
Category:1889 births Category:1977 deaths Category:19th-century English people Category:Academy Honorary Award recipients Category:Actors awarded British knighthoods Category:Actors from London Category:Articles containing video clips Category:Autobiographers Category:Best Original Music Score Academy Award winners Category:British expatriates in the United States Category:British Romani people Category:Cinema pioneers Category:English agnostics Category:English child actors Category:English comedians Category:English expatriates in Switzerland Category:English film actors Category:English film directors Category:English screenwriters Category:English silent film actors Category:English socialists Category:Erasmus Prize winners Category:Knights Commander of the Order of the British Empire Category:McCarthyism Category:Mimes Category:Music hall performers Category:Romani actors Category:Romani film directors Category:Short film directors Category:Silent film comedians Category:Slapstick comedians Category:Vaudeville performers Category:Children of Entertainers
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name | Bill Monroe |
---|---|
background | solo_singer |
birth name | William Smith Monroe |
alias | Bill Monroe |"The Father of Bluegrass Music" |
birth date | September 13, 1911 |
death date | September 09, 1996 |
origin | Rosine, Kentucky, USA |
instrument | Mandolin |
genre | bluegrass, bluegrass gospel |
occupation | Bluegrass artist |
years active | 1930s–1996 |
label | | |
associated acts | | |
website | | |
current members | Country Music Hall of Fame International Bluegrass Music Hall of Honor Rock and Roll Hall of Fame | |
past members | Grand Ole Opry (1939 – 1996) The Monroe Brothers Blue Grass Boys | |
notable instruments | Mandolin '''Gibson F5 }} |
Monroe's mother died when he was ten, followed by his father six years later. As his brothers and sisters had moved away, after bouncing among uncles and aunts, Monroe settled in with his, now disabled, uncle Pendleton Vandiver, often accompanying him when Vandiver played the fiddle at dances. This experience inspired one of Monroe's most famous compositions, "Uncle Pen," recorded in 1950 and released on the 1972 album, "Bill Monroe's Uncle Pen." On that album, Monroe recorded a number of traditional fiddle tunes he had often heard performed by Vandiver. Uncle Pen has been credited with giving Monroe "a repertoire of tunes that sank into Bill's aurally trained memory and a sense of rhythm that seeped into his bones." Also significant in Monroe's musical life was Arnold Shultz, an influential fiddler and guitarist who introduced Monroe to the blues.
After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. In October 1939, he successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks.
While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.
The 28 songs recorded by this version of the Blue Grass Boys for Columbia Records in 1946 and 1947 soon became classics of the genre, including "Toy Heart," "Blue Grass Breakdown," "Molly and Tenbrooks", "Wicked Path of Sin," "My Rose of Old Kentucky," "Little Cabin Home on the Hill," and Monroe's most famous song, "Blue Moon of Kentucky". The last-named was recorded by Elvis Presley in 1954, appearing as the B-side of his first single for Sun Records. Monroe gave his blessing to Presley's rock-and-roll cover of the song, originally a slow ballad in waltz time, and in fact re-recorded it himself with a faster arrangement after Presley's version became a hit. Several gospel-themed numbers are credited to the "Blue Grass Quartet," which featured four-part vocal arrangements accompanied solely by mandolin and guitar — Monroe's usual practice when performing "sacred" songs.
Both Flatt and Scruggs left Monroe's band in early 1948, soon forming their own group, the Foggy Mountain Boys, which met with notable commercial success in the 1950s and 1960s with such hits as "Foggy Mountain Breakdown", "Cabin on the Hill," and "The Ballad of Jed Clampett". In 1949, after signing with Decca Records, Monroe quickly regrouped, entering the "golden age" of his career with what many consider the classic "high lonesome" version of the Blue Grass Boys, featuring the lead vocals and rhythm guitar of Jimmy Martin, the banjo of Rudy Lyle (replacing Earl Scruggs), and fiddlers such as Merle "Red" Taylor, Charlie Cline, Bobby Hicks and Vassar Clements. This band recorded a number of bluegrass classics, including "My Little Georgia Rose," "On and On," "Memories of Mother and Dad," and "Uncle Pen," as well as instrumentals such as "Roanoke", "Big Mon", "Stoney Lonesone", "Get Up John" and the mandolin feature "Raw Hide." Carter Stanley joined the Blue Grass Boys as guitarist for a short time in 1951 during a period when the Stanley Brothers had temporarily disbanded.
On January 16, 1953 Monroe was critically injured in a two-car wreck. He and "Bluegrass Boys" bass player, Bessie Lee Mauldin, were returning home from a fox hunt north of Nashville. On highway 31-W, near White House, their car was struck by a drunken driver. Monroe, who had suffered injuries to his back, left arm and nose, was rushed to General Hospital in Nashville. It took him almost four months to recover and resume touring. In the meantime Charlie Cline and Jimmy Martin kept the band together.
By the late 1950s, however, Monroe's commercial fortunes had begun to slip. The rise of rock-and-roll and the development of the "Nashville sound" in mainstream country music both represented threats to the viability of bluegrass. While still a mainstay on the Grand Ole Opry, Monroe found diminishing success on the singles charts, and struggled to keep his band together in the face of declining demand for live performances.
The growing national popularity of Monroe's music during the 1960s was also apparent in the increasingly diverse background of musicians recruited into his band. Non-southerners who served as Blue Grass Boys during this period included banjo player Bill Keith and singer/guitarist Peter Rowan from Massachusetts, fiddler Gene Lowinger from New York, banjo player Lamar Grier from Maryland, banjo player Steve Arkin from New York, and singer/guitarist Roland White and fiddler Richard Greene from California.
In 1967 Monroe himself founded an annual bluegrass festival at Bean Blossom in southern Indiana, a park he had purchased in 1951, which routinely attracted a crowd of thousands; a double LP from the festival featuring Monroe, Jimmy Martin, Lester Flatt, and Jim and Jesse was released in 1973. The annual ''Bill Monroe Bean Blossom Bluegrass Festival'' is now the world's oldest continuously running annual bluegrass festival.
Monroe's compositions during his later period were largely instrumentals, including "Jerusalem Ridge", "Old Dangerfield", and "My Last Days on Earth"; he settled into a new role as a musical patriarch who continued to influence younger generations of musicians. Monroe recorded two albums of duets in the 1980s; the first featured collaborations with country stars such as Emmylou Harris, Waylon Jennings, and the Oak Ridge Boys, while the second paired him with other prominent bluegrass musicians. A 1989 live album celebrated his 50th year on the Grand Ole Opry. Monroe also kept a hectic touring schedule. On April 7, 1990, Monroe performed for Farm Aid IV in Indianapolis, Indiana along with Willie Nelson, John Mellencamp, Neil Young and with many other artists.
}}
Modern bluegrass singer and mandolin player Ricky Skaggs was influenced by Monroe. Skaggs was only six years old when he first got to perform on stage with Monroe and his band. He stated, "I think Bill Monroe's importance to American music is as important as someone like Robert Johnson was to blues, or Louis Armstrong. He was so influential: I think he's probably the only musician that had a whole style of music named after his band".
Category:1911 births Category:1996 deaths Category:People from Ohio County, Kentucky Category:American country musicians Category:American country singers Category:American bluegrass musicians Category:American country singer-songwriters Category:Country Music Hall of Fame inductees Category:Deaths from stroke Category:Grand Ole Opry members Category:Grammy Lifetime Achievement Award winners Category:International Bluegrass Music Hall of Honor inductees Category:Musicians from Kentucky Category:National Heritage Fellowship winners Category:Peabody Award winners Category:Rock and Roll Hall of Fame inductees Category:United States National Medal of Arts recipients Category:American bluegrass mandolinists
cs:Bill Monroe da:Bill Monroe de:Bill Monroe et:Bill Monroe es:Bill Monroe fr:Bill Monroe it:Bill Monroe nl:Bill Monroe ja:ビル・モンロー pl:Bill Monroe sv:Bill Monroe uk:Біл МонроThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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