A totem is a stipulated ancestor of a group of people, such as a family, clan, group, lineage, or tribe.

Totems support larger groups than the individual person. In kinship and descent, if the apical ancestor of a clan is nonhuman, it is called a totem. Normally this belief is accompanied by a totemic myth.

Although the term is of Ojibwe origin in North America, totemistic beliefs are not limited to Native Americans. Similar totem-like beliefs have been historically present in societies throughout much of the world, including Africa, Asia, Australia, Eastern Europe, Western Europe, and the Arctic polar region.

In modern times, some single individuals, not otherwise involved in the practice of a tribal religion, have chosen to adopt a personal spirit animal helper, which has special meaning to them, and may refer to this as a totem. This non-traditional usage of the term is prevalent in the New Age movement, and the mythopoetic men's movement.

Totemism

Totemism (derived from the root ''-oode-'' in the Ojibwe language, which referred to something kinship-related, c.f. ''odoodem'', "his totem") is a religious belief that is frequently associated with shamanistic religions. The totem is usually an animal or other natural figure that spiritually represents a group of related people such as a clan.

Totemism was a key element of study in the development of 19th and early 20th century theories of religion, especially for thinkers such as Émile Durkheim, who concentrated their study on primitive societies. Drawing on the identification of social group with spiritual totem in Australian aboriginal tribes, Durkheim theorized that all human religious expression was intrinsically founded in the relationship to a group.

In his essay "Le Totemisme aujourdhui" (Totemism Today), the anthropologist Claude Lévi-Strauss argued that human cognition, which is based on analogical thought, is independent of social context. From this, he excludes mathematical thought, which operates primarily through logic. Totems are chosen arbitrarily for the sole purpose of making the physical world a comprehensive and coherent classificatory system. Lévi-Strauss argues that the use of physical analogies is not an indication of a more primitive mental capacity. It is rather, a more efficient way to cope with this particular no mode of life in which abstractions are rare, and in which the physical environment is in direct friction with the society. He also holds that scientific explanation entails the discovery of an "arrangement"; moreover, since "the science of the concrete" is a classificatory system enabling individuals to classify the world in a rational fashion, it is neither more nor less a science than any other in the western world. It is important to recognise that in this text, Lévi-Strauss manifests the egalitarian nature of his work. Lévi-Strauss diverts the theme of anthropology toward the understanding of human cognition.

Lévi-Strauss looked at the ideas of Firth and Fortes, Durkheim, Malinowski, and Evans-Pritchard to reach his conclusions. Firth and Fortes argued that totemism was based on physical or psychological similarities between the clan and the totemic animal. Malinowski proposed that it was based on empirical interest or that the totem was 'good to eat.' In other words, there was rational interest in preserving the species. Finally Evans-Pritchard argued that the reason for totems was metaphoric. His work with the ''Nuer'' led him to believe that totems are a symbolic representation of the group. Lévi-Strauss considered Evan-Pritchard's work the correct explanation.

Native North American Totems

Not including the totem pole, many Native North American tribes had or have traditions providing every person with nine different animals that will accompany them throughout life. These animals act as guides, surfacing in our lives depending on where we head and what we need at a given moment. One of those animals in particular is said to be your "totem animal;" it is the animal that is with you for life, both in the physical and spiritual world. Many people have a variety of different animal spirits but their "totem animal" is their main guide through life.

North American totem poles

The mis-named totem poles of the Pacific Northwest of North America are, in fact, not totemic in nature. Rather, they are heraldic. They feature many different designs (bears, birds, frogs, people, and various supernatural beings and aquatic creatures) that function as crests of families or chiefs. They recount stories owned by those families or chiefs, and/or commemorate special occasions.

Possibly totemic culture in ancient China

The Sanxingdui Culture in southern China, dating back more than 5000 years, possibly placed bronze and gold heads on totems. Chinese transliterates ''totem'' as ''tuteng'' (圖騰). Sanxingdui bronze masks and heads (radiocarbon dated circa 1200BCE) appear to have been mounted on wooden poles. Some scholars have suggested that totemic culture spread from ancient Asian populations to the rest of the world. Others conclude that totemism arose separately in numerous cultures; totemic cultures in North America are estimated to have been more than 10,000 years old.

Korean JangSeung

A Jangseung or village guardian is a Korean totem pole usually made of wood. Jangseungs were traditionally placed at the edges of villages to mark for village boundaries and frighten away demons or welcome people in. They were also worshipped as village tutelary deities. JangSeungs were usually carved in the images of Janguns (equivalent to Admirals or Generals) and their wives. Many JangSeungs are also depicted laughing but in a frightening way. Many of the villages felt that the frightening laughter of the JangSeungs would frighten away the demons because the JangSeungs have no fear.

Totem beads in the Himalayan region

In the Himalayan region as well as on the whole Tibetan plateau area and adjacent areas, certain beaded jewelry is believed to have totemistic capabilities. Tibetans in particular give much importance to heirloom beads such as dzi beads. Though dzi beads were not produced in ancient Tibet, but by an unknown culture, most ancient dzi beads are owned by Tibetans. Different protective qualities depend on design, number of eyes, damage, color, shine, etc.

The ancient Polish ''rodnidze''

The ''rodnidze'' known among the pre-Christian ancestors of the Poles is considered to have been roughly similar to the totem as mentioned above. In historical times, scholars considered that the animals and birds represented on the coats-of-arms of various Polish aristocratic clans may have been remnants of such totems (see Ślepowron coat of arms, Korwin coat of arms, possible remnants of a raven-rodnidze).

See also

Animal worship

Animism

Anishinaabe clan system

Aumakua

Axis Mundi

Charge (heraldry)

Devak, a type of family totem in Maratha culture

Fylgja

Jangseung

Moiety

Nature worship

Tamga, an abstract seal or device used by Eurasian nomadic peoples

''Totem and Taboo'' by Sigmund Freud

Vahana

Wildlife totemization

References

External links

Celtic Totem Animals Discussion Group - Help us find ancient totem references & meanings.

Totem Animals: Finding Your Animal Totem, Totemic Artwork

Totem Spirit Animals: Discovering Animal Totems, Dictionaries, Feathers

Historical Wonders of Sanxingdui

Welcome to Sanxingdui (with history of excavation)

Totems in Zimbabwe

Category:Algonquian loanwords Category:Anthropology of religion Category:Deities, spirits, and mythic beings Category:Native American religion Category:Sociology of religion

ar:طوطم az:Totemizm be:Татэмізм be-x-old:Татэмізм bar:Totem bg:Тотем ca:Tòtem cs:Totem da:Totem de:Totem el:Τοτέμ es:Tótem eo:Totemo fa:توتم fr:Totem (objet rituel) id:Totem it:Totem he:טוטם kk:Тотемизм ku:Totem lt:Totemas hu:Totem ml:ടോട്ടം arz:طوطم nl:Totem ja:トーテム no:Totem pl:Totem (religia) pt:Totem ru:Тотемизм sk:Totem sr:Тотем fi:Toteemi sv:Totem tt:Тотемизм uk:Тотемізм zh:圖騰

Name	B.D.Foxmoor
Background	solo_singer
Birth name	Michalis Mytakidis
Alias	Akalestos
Birth date	August 21, 1967
Instrument	rapping
Genre	hip hop, low bap
Years active	1992 -
Label	Warner, 8ctagon
Associated acts	Active Member }}

B.D. Foxmoor (born Michalis Mytakidis; , on August 21, 1967) is a Greek rapper and hip hop producer. In 1992 he founded Active Member and released the first Greek hip hop album, ''Diamartyria'' (Protest), in 1993. In 1995 when Active Member signed to a major label, Warner, and released ''To megalo kolpo'', B.D. Foxmoor started referring to his music as low bap. He has released many solo albums as long as LPs with Active Member and has also produced many releases of other low bap artists.

Discography

#I’m Still An Active Member 1994 #Sti xasi kai sti feksi 1999 #Daneikes Prosefxes 1999 #To mystiko oktagono 2001 #Afovia 2003 #5/2/03 2003 #Sfina 2004 #Wasted in Hiphopoly 2005 #Pyromantic 2006 #Otan i mikronoi hiphoragun (sullektiko box) 2007 #Darkest light epitome 2008 #Vadarkia 2009

External links

Low Bap Foundation

by George Kokorakis

Category:Greek rappers Category:1967 births Category:Living people

el:B.D. Foxmoor

name	Robert Lepage
birth date	December 12, 1957
birth place	Québec City, Canada
occupation	Film directorActorScreenwriter
yearsactive	1982 - Present }}

Robert Lepage, (born December 12, 1957 in Québec City) is a playwright, actor, film director, and stage director from Québec City, Québec, and is one of Canada's most honoured theatre artists.

Life and work

Lepage was raised in Québec City. At age five, he was diagnosed with a rare form of alopecia, which caused complete hair loss over his whole body. As a teenager he struggled with depression, and turned to drama classes to conquer his shyness.

Between 1975 and 1978, he studied theatre at Québec City's Conservatoire d'Art Dramatique. He subsequently participated in workshops at Alain Knapp's theatre school in Paris, France.

After coming back to Québec City, he wrote, directed and played in a few independent productions and joined Théâtre Repère in 1982. With that company, he created ''Circulations'' (1984), which was presented across Canada and won an award as best Canadian production during La Quinzaine Internationale de Théâtre de Québec. The following year, he created ''The Dragons' Trilogy'' and immediately received international recognition. ''Vinci'' (1986), ''Polygraphe'' (1987–1990) and ''Tectonic Plates'' (1988–1990) followed and were also toured around the world.

He was the artistic director of the National Arts Centre's Théâtre français in Ottawa from 1989 to 1993, and continued to stage plays. His productions of ''Needles and Opium'', ''Coriolanus'', ''Macbeth'', ''The Tempest'' and ''A Midsummer Night's Dream'' were all created in that period.

In 1994, Lepage founded Ex Machina, a multidisciplinary production company, for which he is artistic director. Lepage and Ex Machina have toured numerous productions internationally to critical and popular acclaim, most notably ''The Seven Streams of the River Ota'' (1994) and ''Elsinore'' (1995). Lepage was invited in 1994 to direct August Strindberg's A Dream Play at Royal Dramatic Theater in Stockholm, Sweden. It premiered in the fall of 1994 and guest played in the spring of 1995 in Glasgow Scotland. ''Geometry of Miracles'' (1998) and ''The Far Side of the Moon'' (, 2000), a solo show in which he juxtaposed the Cold War competition of the Americans and the Soviets in the Space Race with the story of two Québécois brothers—one straight, one gay—and their competitive relationship after their mother's death. It went to win numerous awards, including four trophies at le Gala des Masques, a Time Out Award and the prestigious Evening Standard Award. ''The Far Side of the Moon'' was adapted by Lepage—who plays both brothers—into a critically acclaimed 2003 film of the same name.

Lepage has directed four other feature films: ''Le Confessionnal'' (1995), ''Le Polygraphe'' (1997), ''Nô'' (1998) and ''Possible Worlds'' (2000), and has acted in films by other directors, notably ''Jésus de Montréal'' (1989) and ''Stardom'' (2001) by Denys Arcand.

He has also been involved in music productions, being the stage director for the critically acclaimed Secret World Tour by Peter Gabriel in 1993-1994, and the subsequent Growing Up tour in 2003-2004. He proved to be as gifted in opera as in theatre, staging ''Bluebeard's Castle'' and ''Erwartung'' at the Canadian Opera Company, ''The Damnation of Faust'' in Japan and Paris, and Lorin Maazel's ''1984'' at Covent Garden's Royal Opera House in London in 2005. Finally, Cirque du Soleil asked him to create the permanent Las Vegas show named ''Kà'' at the MGM Grand in 2005.

''The Andersen Project'', his last solo play inspired by the life and works of Danish writer Hans Christian Andersen and his tale 'The Dryad', is set to have a long and prosperous life, similar to ''The Far Side of the Moon''; it received many international prizes and, after being presented by Lepage himself in more than ten countries, is currently starring Yves Jacques who did the same in the past for ''The Far Side of the Moon''.

''Lipsynch'', his large canvass work, premiered in its first version in Newcastle upon Tyne's Northern Stage in February 2007 in its 5 hours version; it is now 9 hours long. He also staged Igor Stravinsky's ''The Rake's Progress'', which was presented in Brussels Opéra de la Monnaie in April 2007 and San Francisco War Memorial Opera House in November 2007.

Recent projects also include ''The Image Mill'', celebrating the 400th anniversary of Québec City. For forty nights, residents and visitors could see the biggest outdoor architectural projection ever made in the world. In forty minutes, Robert Lepage and Ex Machina celebrated four centuries of human and materiel development right where the river narrows, on the banks of Bassin Louise, using the huge surface of the Bunge grain elevators as a giant screen. More than an historic tableau, ''The Image Mill'' is a light-hearted and lively illustration in three dimensions of the city's past, present and future. It is a mosaic of icons, sounds and ideas covering four great epochs in the progress of Québec City:

The age of waterways and exploration

The age of roads and settlement

The age of railroads and development

The age of air travel and communication

The first presentation of this original, larger than life portrait of Québec City took place at sundown on June 20, 2008, the evening of the summer solstice. It was planned at first that the show would be projected every evening until July 29, 2008. But because of its success, the projection was extended till the end of August and was extended again to September 8, 2008. The soundtrack was broadcast simultaneously on CKIA-FM and all of this free of charge. ''The Image Mill'' was again presented in 2009, with a few improvements and new material.

In November 2008, Lepage directed an staged version of Hector Berlioz' ''The Damnation of Faust'' at the Metropolitan Opera in New York. On February 25, 2009, Robert Lepage premiered a new work entitled ''Eonnagata'' at Sadler's Wells Theatre, London, UK. He has worked on this alongside the dancers Sylvie Guillem and Russell Maliphant, fashion designer Alexander McQueen, lighting designer Michael Hulls and sound designer Jean-Sébastien Côté.

His production of Stravinsky's ''The Rake's Progress'', conducted by Christopher Hogwood, was re-released at the Teatro Real, Madrid in January 2009.

In spring 2009, Lepage presented ''The Blue Dragon'' (''Le Dragon Bleu''), a sequel to his successful ''Dragons' Trilogy'', in which he reprised (more than twenty years later) the role of Pierre Lamontagne, a Québécois artist who lives in China.

In fall 2009, Robert Lepage directed ''The Nightingale and Other Short Fables'', an operatic staging of short works by Stravinsky blending hand shadow puppetry, Kabuki theatre, Chinese opera and Vietnamese water puppetry. The Canadian Opera Company in Toronto premiered the work. Lepage is currently working on ''Totem'', Cirque du Soleil's next touring show, as well as on a new production of ''Der Ring des Nibelungen'' by Richard Wagner for the Metropolitan Opera of New York. The series is being presented in installments during the 2010-2011 and 2011-2012 seasons - ''Das Rheingold'' and ''Die Walkure'' were premiered during the 2010-2011 season, and ''Siegfried'' and ''Gotterdammerung'' are scheduled to premiere in 2011-2012. The Metropolitan Opera had to install steel reeinforcements under the stage in order to support LePage's roughly 45 tonne stage, as famously reported by the New York Times.

In 2012, audiences will see him in Martin Villeneuve's ''Mars et Avril'', a science fiction film based on the graphic novels of the same name.

Plays

''Le Dragon bleu (The Blue Dragon)''

''Lipsynch''

''Le Projet Andersen (The Andersen Project)''

''Busker's Opera''

''La Face cachée de la lune (The Far Side of the Moon)''

''La Casa Azul''

''Zulu Time''

''La Tempête (The Tempest)''

''La Géométrie des miracles (Geometry of Miracles)''

''Les Sept Branches de la Rivière Ota (The Seven Streams of the River Ota)''

''Elseneur (Elsinor)''

''Les Aiguilles et l'Opium (Needles and Opium)''

''Les Plaques tectoniques (Tectonic Plates)''

''La Trilogie des Dragons (The Dragons' Trilogy)''

''Le Polygraphe (Polygraph)''

''Vinci''

''Circulations''

''Eonnagatta''

Filmography

Actor

1989: ''Jésus de Montréal''

1990: ''Ding et Dong le film''

1991: ''Montréal vu par...'' (segment "Desperanto")

1992: ''Tectonic Plates''

1994: ''Bad Blood'' (aka ''Viper'')

2000: ''Stardom''

2003: ''The Far Side of the Moon''

2004: ''L'Audition''

2006: ''No-Vacancy''

2006: ''Dans les villes''

2007: ''La belle empoisonneuse''

2012: ''Mars et Avril'' (post-production)

Writer

1992: ''Tectonic Plates''

1995: ''Le Confessional''

1997: ''Le Polygraphe''

1998: ''Nô''

2000: ''Possible Worlds''

2003: ''The Far Side of the Moon''

Director

1995: ''Le Confessional''

1997: ''Le Polygraphe''

1998: ''Nô''

2000: ''Possible Worlds''

2003: ''The Far Side of the Moon''

Honours

In 1994, he was made an Officer of the Order of Canada "for his particularly imaginative and innovative work". In 1999, he was made an Officer of the National Order of Quebec. In 2001 he was inducted into Canada's Walk of Fame. He was promoted to Companion of the Order of Canada in 2009 "for his international contributions to the performing arts, particularly in film, theatre and opera, as an actor, producer and director".

On April 29, 2007, he was awarded the European Commission's Europe Theatre Prize for 2007. The honours were to be shared between Lepage and German stage director Peter Zadek, but Zadek did not show up and was not awarded the prize.

In 2009, Lepage received the Governor General's Performing Arts Award for Lifetime Artistic Achievement. He could not attend the ceremony but accepted the award via a pre-recorded speech.

He was nominated for the Genie Award for Best Achievement in Direction for his films ''Le Polygraphe'', ''Possible Worlds'', and ''The Far Side of the Moon''. He won the award for his film ''Le Confessional''.

He was nominated for the Jutra Award for Best Direction for his film ''Nô''. He won the Special Jutra Award for his film ''Possible Worlds''.

References

Further reading

Patrick Caux & Bernard Gilbert. ''EX MACHINA: Creating for the Stage''. Talonbooks, 2009. ISBN 978-0-88922-617-3

Dundjerovic, Aleksandar: ''The Cinema of Robert Lepage. The poetics of memory'', Walflower Press, 2003; ISBN 1-903364-33-7

Dundjerovic, Aleksandar: ''The Theatricality of Robert Lepage'', McGill-Queen's University Press, 2007; ISBN 978-0-7735-3251-9

External links

''EX MACHINA: Creating for the Stage''

lacaserne.net

Ex Machina

Epidemic - Robert Lepage's representative in Continental Europe and Japan

Anamorphoses

Robert Lepage's official site

CBC Digital Archives - Robert Lepage: Canada's renaissance man

Category:1957 births Category:Canadian dramatists and playwrights Category:Writers from Quebec Category:Quebec film directors Category:Canadian screenwriters Category:French Quebecers Category:Gay writers Category:Gay actors Category:LGBT writers from Canada Category:Living people Category:Officers of the National Order of Quebec Category:Companions of the Order of Canada Category:Canadian film actors Category:Canadian writers in French Category:People from Quebec City Category:Canadian film directors Category:Genie Award winners for Best Achievement in Direction Category:Genie Award winners for Best Screenplay Category:LGBT screenwriters Category:LGBT directors Category:Actors from Quebec Category:Governor General's Performing Arts Award for Lifetime Artistic Achievement winners Category:Prix Denise-Pelletier winners

de:Robert Lepage fr:Robert Lepage it:Robert Lepage pl:Robert Lepage pt:Robert Lepage ru:Лепаж, Робер tr:Robert Lepage

name	Lee Morgan
background	non_vocal_instrumentalist
birth name	Edward Lee Morgan
birth date	July 10, 1938
died	February 19, 1972, New York, United States
origin	Philadelphia, Pennsylvania, United States
instrument	Trumpet
genre	Bebop, hard bop
label	Blue Note Records, Vee-Jay Records}}

Edward Lee Morgan (July 10, 1938, Philadelphia, Pennsylvania – February 19, 1972, New York City) was an American hard bop trumpeter.

Biography

Edward Lee Morgan was born in Philadelphia on July 10, 1938, the youngest of Otto Ricardo and Nettie Beatrice Morgan's four children.

Lee Morgan, a leading trumpeter and composer, recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. On his thirteenth birthday, his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until economics forced Dizzy to disband the unit in 1958. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label.

He was a featured sideman on several early Hank Mobley records, as well as on John Coltrane's ''Blue Train'' (1957), on which he played a trumpet with an angled bell (given to him by Gillespie) and delivered one of his most celebrated solos on the title track.

Joining Art Blakey's Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on numerous albums by the Messengers, including ''Moanin''', which is one of the band's best-known recordings. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, would record the classic ''The Freedom Rider'' album. The drug problems of Morgan and Timmons forced them to leave the band in 1961, and the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, an addictive drug that impeded his career trajectory.

On returning to New York in 1963, he recorded ''The Sidewinder'' (1963), which became his greatest commercial success. The title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgan's or Blue Note's consent, and intercession by the label's lawyers led to the commercial being withdrawn. Due to the crossover success of "The Sidewinder" in a rapidly changing pop music market, Blue Note owners encouraged other of its artists to emulate the tune's "boogaloo" beat. Morgan himself repeated the formula several times with compositions such as "Cornbread" (from the eponymous album ''Cornbread'') and "Yes I Can, No You Can't" on ''The Gigolo''. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III's essentially avant-garde ''Evolution'' album, recorded a month earlier, on November 21, 1963.

After this commercial success, Morgan continued to record prolifically, producing such works as ''Search for the New Land'' (1964), which reached the top 20 of the R&B; charts. He also briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group. Together with John Gilmore, this lineup was filmed by the BBC for seminal jazz television program Jazz 625.

As the 60's progressed, he recorded some twenty additional albums as a leader, and continued to record as a sideman on the albums of other artists, including Wayne Shorter's ''Night Dreamer''; Stanley Turrentine's ''Mr. Natural''; Freddie Hubbard's ''The Night of the Cookers''; Hank Mobley's ''Dippin''', ''A Caddy for Daddy'', ''A Slice of the Top'', ''Straight No Filter''; Jackie McLean's ''Jackknife'' and ''Consequence''; Joe Henderson's ''Mode for Joe''; McCoy Tyner's ''Tender Moments''; Lonnie Smith's ''Think'' and ''Turning Point''; Elvin Jones' ''The Prime Element''; Jack Wilson's ''Easterly Winds''; Reuben Wilson's ''Love Bug''; Larry Young's ''Mother Ship''; ''Lee Morgan and Clifford Jordan Live in Baltimore 1968''; Andrew Hill's ''Grass Roots''; as well as on several albums with Art Blakey and the Jazz Messengers.

He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People's Movement. The group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs' bands. His working band during those last years featured reedmen Billy Harper or Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt and drummers Mickey Roker or Freddie Waits. Maupin, Mabern, Merritt and Roker are featured on the well-regarded 3-disc, ''Live at the Lighthouse'', recorded during a two-week engagement at the Hermosa Beach club, California, in July 1970.

Death

Morgan was murdered in the early hours of February 19, 1972, at Slugs', a jazz club in New York City's East Village where his band was performing. Following an altercation between sets, Morgan's common-law wife Helen More (aka; Morgan), shot him in the chest onstage, killing him within moments. He was 33 years old. According to an eye witness, Miss More (13 years his senior) walked out of the club just before the last set. She returned and the band was already on stage. Lee was trying to get up there, but was talking with some people. He just started to get up the stage, when she entered and called his name. He turned around and she shot him in the heart. She then turned the gun on the club's doorman Ernie Holman, who grabbed her wrist and took the gun away from her. She started to scream "Baby, what have I done?" and ran to him. She was later arrested, tried, sentenced, and paroled by 1978. Soon after, Helen Morgan returned to her native North Carolina. Reportedly she never spoke publicly of the incident, until she granted an interview a month before her death. She died in WIlmington, NC, from heart condition, in March 1996. Helen Morgan was 69.

Discography

{| cellspacing="0" cellpadding="2" border="0" |- style="background:#ffdead;" ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Title ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Year ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Label |- | style="border-bottom:1px solid grey;" | ''Lee Morgan Indeed!'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1956 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Introducing Lee Morgan'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1956 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Savoy |- | style="border-bottom:1px solid grey;" | ''Lee Morgan Sextet'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Lee Morgan Vol. 3'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''City Lights'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Cooker'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Candy'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- |- | style="border-bottom:1px solid grey;" | ''Here's Lee Morgan'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Vee-Jay |- | style="border-bottom:1px solid grey;" | ''The Young Lions'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Vee-Jay |- | style="border-bottom:1px solid grey;" | ''Expoobident'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Vee-Jay |- | style="border-bottom:1px solid grey;" | ''Lee-Way'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Take Twelve'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1962 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Jazzland |- | style="border-bottom:1px solid grey;" | ''The Sidewinder'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1963 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Search for the New Land'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1964 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Tom Cat'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1964 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Rumproller'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Gigolo'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Cornbread'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Infinity'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Delightfulee'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Charisma'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Rajah'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Standards'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Sonic Boom'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Procrastinator'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Sixth Sense'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Taru'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1968 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Caramba!'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1968 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Live at the Lighthouse'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Last Session'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1971 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |}

Further reading

Jeff McMillan "DelightfuLee: The Life and Music of Lee Morgan", 2008, University of Michigan Press

Tom Perchard ''Lee Morgan: His Life, Music and Culture'', 2006, Equinox

Thomas, Larry Reni. ''The Lady Who Shot Lee Morgan'' (1996)

References

External links

Lee Morgan tribute site

Masaya Matsumura's Lee Morgan Discography site

Lee Morgan discography

Lee Morgan playing his famous "Ceora" ballad

One version of "The Day Lee Morgan Died" as told by Billy Hart

Category:1938 births Category:1972 deaths Category:American jazz trumpeters Category:Bebop trumpeters Category:Hard bop trumpeters Category:Murdered entertainers Category:Musicians from Philadelphia, Pennsylvania Category:Savoy Records artists Category:Vee-Jay Records artists Category:Blue Note Records artists Category:Musicians who died on stage

ca:Lee Morgan cs:Lee Morgan da:Lee Morgan de:Lee Morgan es:Lee Morgan fa:لی مورگان fr:Lee Morgan it:Lee Morgan he:לי מורגן nl:Lee Morgan ja:リー・モーガン pl:Lee Morgan pt:Lee Morgan sv:Lee Morgan

name	Rubén Rada
background	solo_singer
birth name	Rubén Omar Rada Silva
birth date	June 17 , 1943
birth place	, Montevideo
instrument	Voice, Congas, percusion
genre	Jazz, Rock, Candombe , Latin Jazz
occupation	Bandleader, composer, arranger, Singer, actor
years active	since 1955
associated acts	Hugo Fattoruso, Eduardo Mateo, Airto Moreira , etc
website	negrorada.com }}

Rubén Rada (born 1943; moniker "El Negro Rada") is an Afro-Uruguayan percussionist and singer. He is closely associated with candombe, an Afro–Uruguayan rhythmic style music, which is based on the sound of three types of drums: ´chico´, ‘repique’ and ‘piano’.

Rada had a prominent role in the evolution of modern Candombe music by blending it to a great variety of musical styles and instruments not traditionally linked to this genre of music. He is founder of the candombe-beat and the author of some of the most beautiful songs that Uruguay has given. His music combines pop stylings with typically Uruguayan sounds like those of the candombe drums and of the murga choruses typical of the Uruguayan Carnival. In 1965 together with Eduardo Mateo, he formed the band El Kinto Conjunto. This was the first group in Uruguay to create the beat genre in Spanish (Castilian) and to fuse rock with Latin American elements unprecedented in first world formats. In 1969 the success of his Candombe song ‘Las Manzanas’ (‘The Apples’), introduced him as a solo artist to a first album and led him to participate in Rio de Janeiro’s Festival of Popular Music. A year later he formed the band TÓTEM, one of the pillars of national rock music. Tótem was one of the most important massive phenomena of Uruguayan music and represented the height of the Candombe beat. In total he has recorded more than thirty albums, his latest being "Fan" (2009). Many of his albums are considered Uruguayan classics.

Besides being well-known in Uruguay, Rada has also achieved some measure of renown outside the country and in recent years has made a number of recordings under international labels including EMI Latin and Universal Records.

As a renowned composer, his songs are played worldwide and have been recorded by international music celebrities to the likes of Milton Nascimiento, Lanny Hall, and Herb Alpert. Rada was invited by Jon Anderson and Joan Manuel Serrat to feature in their albums ‘Deseo’ (‘Desire’) and ‘Utopía’ (‘Utopia’), respectively.

In 1977, he traveled to the United States invited by the Fattoruso Brothers to play with the group OPA. He remained in the United States until 1978 where he performed together with Ray Barreto, Tom Scott, Flora Purim, Hermeto Pascoal, amongst others.

Between 1991 and 1994, he settled in Mexico, where he worked as a composer and arranger for renowned local musicians such as Mijares, Eugenia León, Stephanie Salas and Tania Libertad. It was in 1994 when Rada shared the spotlight at Mexico City's ‘Palacio de Deportes’ with Sting and UB40..thumb|150px|left|On november 9, 2011 Rubén Rada will be honored with Latin Grammy Award Lifetime Achievement Award, in Las Vegas.

His records from World Music ‘Montevideo’ and ‘Montevideo II’, which were recorded in New York City and edited in 1996 and 1999 respectively, feature musicians such as Hiram Bullock, Bakithi Kumalo, Hugo Fattoruso, José Pedro Beledo, Antón Fig and Ringo Thielmann. ‘Montevideo’ reached platinum sales in Uruguay and was edited in Argentina, Japan, France, Italy, Sweden, Germany and the United States.

In Argentina, he also became extremely popular and recorded many albums. His awarded album ¿Quién va a cantar? (‘Who is going to sing?’), produced by Cachorro Lopez, is Triple - Platinum Album in Uruguay and Gold Album in Argentina.

He voiced the part of Lucius Best/Frozone in the 2004 Argentinian dubbing of ''The Incredibles''. He has also directed radio and TV shows such as ''Radar'' (radio) and ''El Teléfono'' (TV).

Since October 2007 he also stars in a sitcom called "La oveja negra" (''The black sheep'').

In April 2010, the third round of the series LifeLines at the Haus der Kulturen der Welt in Berlin pays tribute to Rubén Rada. Three days of concerts and discussions about his life and career as part of the project Bicentenario - focusing on 200 years of independence movements in Latin America,

British singer Paul McCartney and Brazilian singer Milton Nascimento are among Rada's admirers.

On July 26, 2011, it was announced by The Latin Recording Academy that Rubén Rada will be honored with The Latin Recording Academy®'s Lifetime Achievement Award. This honor will be acknowledged at a special invitation-only ceremony on Wednesday, Nov. 9, 2011, at the Four Seasons Hotel Las Vegas as part of the weeklong ''Latin_Grammy_Award'' celebration.

Discography

RELEASED IN URUGUAY:

1968 “Circa 1968” (SONDOR)

1969 “Las Manzanas” (SONDOR)

1970 “Musicasión 4 ½” (SONDOR)

1971 “Tótem” (SONDOR)

1972 “Descarga” (SONDOR)

1972 “Rada” (SONDOR)

1974 “Camerata Punta del Este” (SONDOR)

1975 “Radeces” (AYUI)

1987 “Botija de mi país” (SONDOR)

1991 “Físico de Rock” (SONDOR)

1992 “Concierto por la vida” (ORFEO)

1993 “Lo mejor de Rada” Vol. I (SONDOR)

1996 “Botijas Band con Ruben Rada” (ORFEO)

1996 “Montevideo” PLATINUM ALBUM (BIG WORLD)

1997 “Lo mejor de Rada’ Vol. II (compilation.)(SONDOR)

1997 “Miscelánea Negra” PLATINUM ALBUM (AYUI)

1998 “Rada en Colores”(Compilation) (EMI)

1998 “Tengo un candombe para Gardel” (Compilation.) (REMIX)

1998 “Black” PLATINUM ALBUM (UNIVERSAL)

1999 “Rada Para Niños” GOLD ALBUM (ZAPATITO)

1999 “Montevideo Dos” PLATINUM ALBUM (BIG WORLD)

2000 “ La Cosa se Pone Negra” (Compilation) (UNIVERSAL)

2000 “¿Quién va a Cantar?” TRIPLE PLATINUM (UNIVERSAL)

2001 “Sueños de Niño” GOLD ALBUM (ZAPATITO)

2003 “Alegre Caballero” PLATINUM ALBUM (ZAPATITO)

2004 “Rubenrá” GOLD ALBUM (ZAPATITO)

2005 “Candombe Jazz Tour” (EMI)

2006 “Rakatá” (Compilation ) (ZAPATITO)

2006 “Richie Silver” (EMI)

2007 “Varsovia” con Javier Malosetti (ZAPATITO/ODAY)

2008 “Bailongo” PLATINUM ALBUM (S-MUSIC)

2009 “Fan” GOLD ALBUM (MMG)

The albums “Magic Time” (Opa – Fantasy Records), “Montevideo” and “Montevideo Dos” (Big World) were released in the USA, Japan, France, Italy, Sweden and Germany.

RELEASED IN ARGENTINA:

1974 “S.O.S.”

1980 “La Banda”

1981 “La Rada”

1982 “En Familia”

1983 “La Cosa Se Pone Negra”

1984 “Adar Nebur”

1986 “La Yapla Mata”

1987 “Siete Vidas”

1989 “Pa’ los Uruguayos” (MELOPEA)

1990 “Las aventuras de R.Rada y Litto Nebbia”(MELOPEA)

1991 “Las aventuras de R.Rada y H.Fattoruso” (MELOPEA)

1991 “Terapia de Murga” (MELOPEA)

1997 “Montevideo” (ARGENDISC)

1997 “Miscelánea Negra” (AQUA)

1998 “Rada en Colores” (Compilation) (EMI)

1998 “Black” (UNIVERSAL)

2000 “La Cosa se Pone Negra” (Compilation) (UNIVERSAL)

2000 “Quien Va a Cantar” GOLD ALBUM (UNIVERSAL)

2003 “Alegre Caballero” GARDEL AWARD (EMI)

2004 “Rubenrá” GARDEL AWARD (EMI)

2005 “Candombe Jazz Tour” (EMI)

2006 “Richie Silver” GARDEL AWARD (EMI)

2007 “Varsovia”(Rubén Rada/Javier Malosetti) (S-MUSIC)

2008 “Bailongo” (S-MUSIC)

2010 “FAN” (Sony MUSIC)

2011 “Confidence, Rada Instrumental” (S-MUSIC)

See also

Uruguayan rock

Candombe

Tótem

External links

Rubén Rada's official Web site

Haus der Kulturen der Welt: Lifelines#3, paid tribute to Uruguay's musical music star Rubén Rada

Article on culturebase.net: Uruguay’s Undiscovered Giant

Rubén Rada at All About Jazz

Special Rubén Rada at 'Encuentro en el Estudio' (TV Program)

Category:1943 births Category:Living people Category:Uruguayan people of Black African descent Category:Uruguayan musicians Category:Uruguayan male singers

ca:Omar Rubén Rada Silva de:Rubén Rada es:Rubén Rada ja:ルベン・ラダ