:''This page is about the social and political class in ancient Rome. For other uses of the term see Patrician (disambiguation).''

The term patrician (, ) originally referred to a group of elite families in ancient Rome, including both their natural and adopted members. In the late Roman Empire, the class was broadened to include high council officials, and after the fall of the Western Empire it remained a high honorary title in the Byzantine Empire. Medieval patrician classes were once again formally defined groups of elite burgher families in many medieval Italian republics, such as Venice and Genoa, and subsequently "patrician" became a vaguer term used for aristocrats and elite bourgeoisie in many countries.

Etymology

The word "patrician" is derived from the Latin word ''patricius'' (plural ''patricii''), which comes from ''patrēs'', the plural of the Latin word ''pater'' ("father"). ''Pater'' was one of the terms applied to the original members of the Roman Senate. The word comes down in English as "patrician" from the Middle English ''patricion'', from the Old French ''patrician''. In modern English, the word ''patrician'' is generally used to denote a member of the upper class, often with connotations of inherited wealth, elitism, and a sense of noblesse oblige.

Origin

According to Livy, the first 100 men appointed as senators by Romulus were referred to as "father" (patres), and the descendants of those men became the Patrician class.

Roman Republic and Empire

Status

Patricians were bestowed special status as Roman citizens. They were better represented in the Roman assemblies. The ''Comitia Centuriata'', the main legislative body, was divided into 193 voting ''centuriae'' (centuries). The first two houses (which consisted largely of patricians) together had 98 ''centuriae'', a number which was enough to obtain a majority, despite the fact that they were fewer in number. That meant that if the patricians acted in concord, they could always determine the result of the voting of the people's assembly. So, although it was not forbidden for plebeians to hold magistracies, the patricians dominated the political scene for centuries.

In the beginning of the Republic, all priesthoods were closed to non-patricians. There was a belief that patricians communicated better with the Roman gods, so they alone could perform the sacred rites and take the auspices. This view had political consequences, since in the beginning of the year or before a military campaign, Roman magistrates used to consult the gods. Livy reports that the first admission of plebeians into a priestly college happened in 300 BC when the college of Augurs raised their number from four to nine. After that, plebeians were accepted into the other religious colleges, and by the end of the Republic, only minor priesthoods with little political importance like the Salii, the Flamines and the Rex Sacrorum were exclusively filled by patricians.

In the list of the names of the Romans who held magistracies (the Fasti), very few plebeian names appear before the 2nd century BC. The turning point were two laws, the Lex Licinia Sextia of 367 BC that ascertained the right of plebeians to hold the consulship, and the Genucian law of 342 BC that made it compulsory that at least one of the consuls be a plebeian.

The ancient patrician ''gentes'' whose members appear in founding legends of Rome disappeared as Rome started becoming an empire and new plebeian families rose to prominence, such as the Decii and the Sempronii. Families such as the Horatii, Lucretii, Verginii and Menenii seem to vanish after the 2nd century BC. Others, such as the Julii reappear only at the end of the Republic. There are some cases where the same gens name was shared by patrician and plebeian clans (for example the Appii Claudii were patricians and the Claudii Marcelli were plebeians).

Patricians vs. Plebeians

The distinction between patricians and plebeians in Ancient Rome was based purely on birth. Although modern writers often portray patricians as rich and powerful families who managed to secure power over the less-fortunate plebeian families, most historians argue that this is an over-simplification. As civil rights for plebeians increased during the middle and late Roman Republic, many plebeian families had attained wealth and power while some traditionally patrician families had fallen into poverty and obscurity.

Historian Richard Mitchell states that patrician families were initially those who held positions within the priesthoods, and that the ancient Senate, composed of patricians, was a religious advisory body. The Senate, acting as a council of religious elders, had political power because it was necessary to have their assent on new laws. The priestly class would confirm that the new laws were in keeping with ''mos maiorum'' and would give their ''auctoritas'' to the measures that could then be enacted.

Patrician families

The following gentes were regarded as patrician, although they may have had plebeian members or branches.

Aebutia (gens)>Aebutia

Aemilia (gens)>Aemilia

Aquillia (gens)>Aquillia

Atilia (gens)>Atilia

Claudia (gens)>Claudia

Cloelia (gens)>Cloelia

Cornelia (gens)>Cornelia

Curtia (gens)>Curtia

Fabia (gens)>Fabia

Foslia (gens)>Foslia

Furia (gens)>Furia

Gegania (gens)>Gegania

Genucia (gens)>Genucia

Herminia (gens)>Herminia

Horatia (gens)>Horatia

Julia (gens)>Julia

Lartia (gens)>Lartia

Lucretia (gens)>Lucretia

Manlia (gens)>Manlia

Marcia (gens)>Marcia, ''cognomen'' Rex

Menenia (gens)>Menenia

Metilia (gens)>Metilia

Minucia (gens)>Minucia

Mucia (gens)>Mucia

Nautia (gens)>Nautia

Numicia (gens)>Numicia

Papiria (gens)>Papiria

Pinaria (gens)>Pinaria

Pollia (gens)>Pollia

Postumia (gens)>Postumia

Potitia (gens)>Potitia

Quinctia (gens)>Quinctia

Quinctilia (gens)>Quinctilia

Romilia (gens)>Romilia

Sempronia (gens)>Sempronia

Sergia (gens)>Sergia

Servilia (gens)>Servilia

Sestia (gens)>Sestia

Siccia (gens)>Siccia

Sulpicia (gens)>Sulpicia

Tarpeia (gens)>Tarpeia

Tarquinia (gens)>Tarquinia

Tarquitia (gens)>Tarquitia

Tullia (gens)>Tullia

Valeria (gens)>Valeria

Verginia (gens)>Verginia

Veturia (gens)>Veturia

Vitellia (gens)>Vitellia

Volumnia (gens)>Volumnia

A number of other gentes originally belonged to the patricians, but were known chiefly from their plebeian branches.

Antonia

Cassia

Cominia

Curiatia

Hostilia

Junia

Marcia, with the ''cognomen'' Censorinus or Philippus

Gentes maiores et minores

Among the patricians, certain families were known as the ''gentes maiores'', the greatest or perhaps the most noble houses. The other patrician families were called the ''gentes minores''. Whether this distinction had any legal significance is not known, but it has been suggested that the ''princeps senatus'', or Speaker of the Senate, was traditionally chosen from the ''gentes maiores''.

No list of the ''gentes maiores'' has been discovered, and even their number is entirely unknown. It has been suggested that the Aemilii, Claudii, Cornelii, Fabii, Manlii, and Valerii were amongst them. The Dictionary of Greek and Roman Biography and Mythology suggests that the gentes maiores consisted of those families that had settled at Rome in the time of Romulus, or at least before the destruction of Alba Longa. The noble Alban families which settled at Rome in the time of Tullus Hostilius then formed the nucleus of the ''gentes minores;'' these included the Tulii, Servilii, Quinctii, Geganii, Curiatii, and Cloelii.

However, Harper's Dictionary of Classical Antiquities suggests that the Alban families were also included amongst the ''gentes maiores'', and that the ''gentes minores'' consisted of the families admitted to the patriciate under the Tarquins and in the early years of the Republic. In any case, the distinction cannot have been based entirely on priority, because the Claudii did not arrive at Rome until after the expulsion of the Etruscan kings.

Late Roman and Byzantine periods

Patrician status still carried a degree of prestige at the time of the early Roman Empire, and Roman emperors routinely elevated their supporters to the patrician caste ''en masse''. The prestige and meaning of the status gradually degraded, and by the end of the 3rd-century crisis, patrician status, as it had been known in the Republic, ceased to have meaning in everyday life. The Emperor Constantine reintroduced the term as the empire's senior honorific title, not tied to any specific administrative position, and from the first limited to a very few men. The historian Zosimus even states that in Constantine's time, the holders of the title ranked above the praetorian prefects. In the Western Roman Empire, the title was sparingly used and retained its high prestige, being awarded, especially in the 5th century, to the powerful ''magistri militum'' who dominated the state, such as Stilicho, Constantius III, Aëtius, Boniface, and Ricimer. In the East Theodosius II also barred the eunuchs from holding it, although this restriction had been overturned by the 6th century. Under Justinian I (r. 527-565), the title proliferated and was consequently somewhat devalued, as the emperor opened it up to all those above ''illustris'' rank, i.e. the majority of the Senate.

In the 8th century, the title was further lowered in the court order of precedence, coming after the ''magistros'' and the ''anthypatos''. However it remained one of the highest in the imperial hierarchy until the 11th century, being awarded to the most important ''stratēgoi'' (provincial governors and generals) of the Empire. The eunuch ''patrikioi'' enjoyed higher precedence, coming before even the ''anthypatoi''. According to the late 9th-century ''Klētorologion'', the insignia of the dignity were ivory inscribed tablets. During the 11th century, the dignity of ''patrikios'' followed the fate of other titles: extensively awarded, it lost in status, and disappeared during the Komnenian period in the early 12th century. The title of ''prōtopatrikios'' ("first patrician") is also evidenced in the East from 367 to 711, possibly referring to the senior-most holder of the office and leader of the patrician order (''taxis''). The feminine variant ''patrikia'' (πατρικία) denoted the spouses of ''patrikioi''; it is not to be confused with the title of ''zostē patrikia'' ("girded ''patrikia''"), which was a unique dignity conferred on the ladies-in-waiting of the empress.

The patrician title was occasionally used in Western Europe after the end of the Roman Empire; for instance, Pope Stephen II granted the title "Patricius of the Romans" to the Frankish ruler Pepin III. The revival of patrician classes in medieval Italian republics, and also north of the Alps, is covered in Patricianship.

References

Sources

Kurt Raaflaub, ed. ''Social Struggles in Archaic Rome: New Perspectives on the Conflict of the Orders'' (Blackwell Publishing, 2005)

Gary Forsythe, 2005, A Critical History of Early Rome. University of California Press.

Kenny Zeng, 2007, A History Of Ancient and Early Rome

Category:Ancient Rome Category:Social groups Category:Social classes in ancient Rome *

az:Patrisilər bs:Patriciji bg:Патриций ca:Patrici (classe romana) cs:Patricius da:Patricier de:Patrizier et:Patriits el:Πατρίκιοι es:Patricios eo:Patricio fa:پاتریسین fr:Patricien fy:Patrysjer gl:Patricio hr:Patricij io:Patrico id:Patrician ia:Patricio it:Patrizio (storia romana) he:פטריקים ku:Patrîsyan la:Patricii (ordo) lv:Patriciāts lb:Patrizier lt:Patricijai hu:Patricius nl:Patriciër ja:パトリキ no:Patrisier pl:Patrycjusze pt:Patrício ro:Patrician ru:Патриции simple:Patrician sl:Patriciji (plemstvo) sr:Патрицији sh:Patriciji fi:Patriisi sv:Patricier tr:Patrici uk:Патрицій zh:贵族 (古罗马)

Name	Dámaso Pérez Prado
Background	non_performing_personnel
Birth name	Dámaso Pérez Prado
Alias	"Prez" Prado "The King of the Mambo"
Born	December 11, 1916Matanzas, Cuba
Died	September 14, 1989Mexico City, Mexico
Genre	Mambo
Occupation	Musician, arranger, bandleader, composer
Notable instruments	}}

Pérez Prado (December 11, 1916 – September 14, 1989) was a Cuban bandleader, musician (singer, organist and pianist), and composer. He is often referred to as the 'King of the Mambo'.

In Mambo his orchestra was the most popular, his son, Pérez Prado, Jr., continues to direct the Pérez Prado Orchestra in Mexico City to this day.

Biography

Early life

Born as Dámaso Pérez Prado in Matanzas, Cuba, his mother was a school teacher, his father a newspaper man. He studied classical piano in his early childhood, and later played organ and piano in local clubs. For a time, he was pianist and arranger for the Sonora Matancera, Cuba's best-known musical group. He also worked with casino orchestras in Havana for most of the 1940s, He was nicknamed "''El Cara de Foca''" ("Seal Face") by his peers at the time.

In 1948 he moved to Mexico to form his own band and record for RCA Victor. He quickly specialized in mambos, an upbeat adaptation of the Cuban danzón. Prado's mambos stood out among the competition, with their fiery brass riffs and strong saxophone counterpoints, and most of all, Pérez's trademark grunts (he actually says "''¡Dilo!''", or "Say it!", in many of the perceived grunts). In 1950 arranger Sonny Burke heard "''Que rico el mambo''" while on vacation in Mexico and recorded it back in the United States as "Mambo Jambo". The single was a hit, which caused Prado to launch a US tour. His appearances in 1951 were sell-outs and he began recording US releases for RCA Victor.

Famous pieces and hits

Prado is the composer of such famous pieces as "Mambo No. 5" (later a UK chart-topper for both Lou Bega in 1999 and animated character Bob the Builder in 2001) and "Mambo No. 8". At the height of the mambo movement, in 1955, Prado hit the American charts at number one with a cha-cha version of "Cherry Pink and Apple Blossom White" (composed by French composer Louiguy). This arrangement, featuring trumpeter Billy Regis, held the spot for 10 consecutive weeks. The song also went to number one in the UK and in Germany. Prado had first covered this title for the movie ''Underwater!'' in 1954, where Jane Russell can be seen dancing to "Cherry Pink". In 1958 one of Prado's own compositions, "Patricia", became the last record to ascend to #1 on the Jockeys and Top 100 charts, both of which gave way the following week to the then newly-introduced Billboard Hot 100 chart. The song also went to number one in Germany, and in the UK it reached number eight.

However, since the Castro government took over Cuba, it prohibited any existing recordings of him and his orchestra from being put into a record compilation for many years. For this reason, phony or secondary versions of "Cherry Pink and Apple Blossom White" and "Patricia" were put into compilations instead, disappointing a lot of Prado fans. This, however, changed only in the mid-1990s.

International popularity

His popularity in the United States matched the peak of the first wave of interest in Latin music outside the Latino communities during the 1940s, 1950s and early 1960s. He also performed in films in the United States and Europe, as well as in Mexican cinema (Rumberas film), always with his trademark goatee and turtle-neck sweaters and vests. With the end of the 1950s, his success waned, and the years gave way to new rhythms, like rock 'n roll and then pop music. His association with RCA ended in the 1960s, and his recorded output was mainly limited to smaller labels and recycled Latin-style anthologies.

Later life

In the early 1970s Prado permanently returned to his apartment off Mexico City's grand Paseo de la Reforma to live with his wife and two children, son Dámaso Pérez Salinas (known as Perez Prado, Jr.) and daughter María Engracia. His career in Latin America was still strong. He toured and continued to record material which was released in Mexico, South America, and Japan. He was revered as one of the reigning giants of the music industry and was a regular performer on Mexican television. In Japan, a live concert recording of his 1973 tour was released on LP in an early 4-channel format known as Quadraphonic.

In 1981 Prado was featured in a musical revue entitled ''Sun'' which enjoyed a long run in the Mexican capital.

In 1983 someone who had used his name had died, and the press erroneously reported the death of bandleader Pérez Prado.

His last United States appearance was at Hollywood on September 12, 1987, when he played to a packed house. This was also the year of his last recording.

Persistent ill health plagued him for the next two years, and he died of a stroke in Mexico City on September 14, 1989, aged 72.

Alumni of Pérez Prado's orchestra

During his lifetime, a cast of musical luminaries passed through his orchestra, including:

Alex Acuña, percussionist

Pete Candoli, trumpeter

Beny Moré, singer

Johnny Pacheco, percussionist

Armando Peraza, percussionist

Mongo Santamaría, percussionist

In popular culture

"Patricia" was later featured in

the striptease scene in Federico Fellini's 1960 movie ''La dolce vita''

background music for a pool party in the 1969 film ''Goodbye, Columbus''

the episode "Some Enchanted Evening" of the animated sitcom ''The Simpsons'', first aired on May 13, 1990

a long-running series of famous TV commercials for the Royal Mail in the UK (using the slogan "I Saw This And Thought Of You") between 1996 and 2003

the closing credits of HBO's ''Real Sex'' series

His mambo records and the joyous dancing they caused are described in a late chapter of Jack Kerouac's seminal novel, ''On The Road'' (1957).

His songs "Caballo Negro", "Lupita", and "Mambo n.8" are featured in the film ''Santa Sangre'' (1989) by Alejandro Jodorowsky.

His recording of "Cherry Pink (and Apple Blossom White)" features in the films ''Deal of the Century'' (1983), ''Cookie'' (1989), and ''Parents'' (1989).

In the decade after his death, the popularity of Prado's music was on the rise again. CD reissues of his RCA recordings continue to sell steadily. "Guaglione"peaked at number 2 in the UK Singles Chart in 1995,

The soundtrack to the 1999 movie ''Office Space'' features two of his performances, "Mambo No. 8" and "The Peanut Vendor."

The soundtrack to the 2004 movie ''Diarios de Motocicleta'' features Prado's "Qué rico el mambo", more commonly known as "Mambo Jambo".

List of popular songs

"Cherry Pink and Apple Blossom White"

"A Go Go Mambo"

"Concierto para Bongo"

"Fantasia"

"Ballin' The Jack"

"Guaglione"

"Que Rico el Mambo"

"Mambo No. 5"

"Mambo #8"

"Mambo del Politécnico"

"Chicago Dengue"

"Mambo Universitario"

"The High and Mighty"

"Tomando Cafe"

"La Niña Popoff"

"Patricia"

"Mambo en Sax"

"Mambo a la Kenton"

"Mambo del Ruletero"

"Mambo del Taconazo"

"Mambo en trompeta"

"Marylin Monroe Mambo"

"Lupita"

"Claudia"

"La Chula Linda"

"Tico, Tico, Tico"

Partial Discography

Prado recorded for RCA Victor from 1950 to 1965.

''Perez Prado Plays Mucho Mambo For Dancing'' (1951)

''Voodoo Suite'' (1955)

''Mambo By The King'' (1955)

''Mambo Mania'' (1955)

''Havana 3 A.M.'' (1956)

''Latin Satin'' (1957)

''Mambo Happy'' (1958)

''Dilo (Ugh!)'' (1958)

''"Prez"'' (1958) - Prado's only US Top 40 album, reaching the #22 spot in May 1959

''Pops and Prado'' (1959)

''A Touch of Tabasco'' with Rosemary Clooney (1960)

''Big Hits By Prado'' (1960)

''Perez Prado's Rockambo'' (1961)

''Exotic Suite of the Americas'' (1962)

''Our Man In Latin America'' (1963)

''The Best Of Perez Prado'' (1967) Reissue of "Big Hits By Prado"

''This Is Perez Prado'' (1971)

''Perez Prado - Pure Gold'' (1975) Another reissue of "Big Hits By Prado"

References

External links

Complete Pérez Prado Discography

"Mambo", a documentary about Perez Prado

Category:1916 births Category:1989 deaths Category:Cuban composers Category:Cuban musicians Category:Deaths from stroke Category:Mambo musicians Category:People from Matanzas Category:RCA Victor artists

ar:بيريز برادو de:Perez Prado es:Dámaso Pérez Prado fr:Pérez Prado gl:Pérez Prado ko:다마소 페레스 프라도 id:Dámaso Pérez Prado it:Perez Prado lb:Pérez Prado ja:ペレス・プラード pl:Perez Prado pt:Perez Prado qu:Dámaso Pérez Prado sc:Perez Prado th:เปเรซ ปราโด

Name	Chris de Burgh
Background	solo_singer
Birth name	Christopher John Davison
Born	October 15, 1948, Venado Tuerto, Santa Fe Province, Argentina
Origin	Argentinian, Irish and British
Religion	Church of Ireland
Instrument	Vocals, Guitar, Piano
Genre	Soft rock, pop rock, rock
Occupation	Musician, singer-songwriter
Years active	1974–present
Label	A&M; Records, Ferryman Productions, Edel Records
Website	http://www.cdeb.com
Height	}}

Chris de Burgh (born Christopher John Davison, 15 October 1948) is a British/Irish singer-songwriter. He is most famous for his 1986 love song "The Lady in Red".

Early life

De Burgh was born in Venado Tuerto, Argentina, to Colonel Charles Davison, a British diplomat, and Maeve Emily de Burgh, an Irish secretary. His father had substantial farming interests, and he spent much of his early years in Malta, Nigeria and Zaire, as he, his mother and brother accompanied Colonel Davison on his diplomatic and engineering work.

The Davisons finally settled in Bargy Castle, County Wexford, a twelfth-century castle in Ireland bought by his maternal grandfather, General Sir Eric de Burgh, a former Chief of the General Staff, British Indian Army, and from a distinguished Hiberno-Norman family. The castle was converted into a hotel where Chris gained much early experience performing to the guests and he later assumed de Burgh as his stage name.

After attending Marlborough College in Wiltshire, England, de Burgh went on to graduate from Trinity College, Dublin with a Master of Arts degree in French, English and History. He took his mother's maiden name as his professional stage name.

Performing career

Chris de Burgh signed his first contract with A&M; Records in 1974, and supported Supertramp on their Crime of the Century tour, building himself a small fan base. His début album, ''Far Beyond These Castle Walls'', was a folk-tinged stab at fantasy in the tradition of the Moody Blues that failed to chart upon its release in February 1975. That July, he released a single called "Turning Round" from the album, released outside the UK and Ireland as "Flying". It failed to make an impression in the UK, but it stayed on top of the Brazilian charts for 17 weeks. This became a familiar pattern for the singer/songwriter, as every one of his '70s albums failed to chart in the UK or U.S. while they racked up big sales in European and South American countries. In 1981, he had his first UK chart entry with ''Best Moves'', a collection culled from his early albums. It set the stage for 1982's Rupert Hine produced ''The Getaway'', which reached number 30 in the UK charts and number 43 in the U.S., thanks to the eerie single "Don't Pay the Ferryman". Chris de Burgh's follow-up album, ''Man on the Line'', also performed well, charting at 69 in the U.S. and 11 in the UK.

Chris de Burgh had an across-the-board success with the ballad "The Lady in Red" in late 1986; the single became a number one hit in the UK (number three in America) and its accompanying album, ''Into the Light'', reached number two in the UK. (number 25 in the U.S.). That Christmas season, a re-release of de Burgh's 1976 Christmas song "A Spaceman Came Travelling" became a Top 40 hit in the UK. ''Flying Colours'', his follow-up to ''Into the Light'', entered the British charts at number one upon its 1988 release, yet it failed to make the American charts. De Burgh never hit the U.S. charts again and his commercial fortunes began to slide slightly in Britain in the early '90s, yet he retained a following around the world. This is mainly due to inactivity of his previous recording label A&M; Records UK division in U.S.

In the mid 1980s he actually brought on a stripper on the stage for the song "Patricia the Stripper" Even though de Burgh is based in Ireland the Irish press are less than generous in their praise for him. In a rare moment of public anger de Burgh wrote a letter of reply to The Irish Times after a scathing review: ''"I wonder what they have in mind for you in your dotage"? Searing critiques of Primary School Christmas plays perhaps, or judging knife sharpening competitions in Sligo?."''

In December 2007, Iranian authorities allowed de Burgh to play with Iranian group, Arian Band, in a concert which made de Burgh the first western act to perform in Iran after the Iranian Revolution. Chris de Burgh said in a press conference in Tehran: "This has been a dream of mine since I was a little boy (to visit Iran)....I am not here for any political reasons."

Famous songs

Chris de Burgh's most famous song is "The Lady in Red" from the 1986 album ''Into the Light''. That album also included the song "For Rosanna", written to celebrate the 1984 birth of his daughter Rosanna Davison, who would later go on to win the 'Miss World' title in 2003.

In a recent interview, de Burgh revealed how the late Diana, Princess of Wales came to see him perform at a private concert; and how after the performance, Diana approached him backstage to thank him for writing the song "The Lady in Red". Apparently, Diana was under the impression that the song was written for (or dedicated to) her, since she was known for loving to wear the colour red. De Burgh was honoured for the compliment and admiration, but he revealed to her the real story behind the song. Speaking on the BBC series ''This Is Your Life'' in the 1990s, de Burgh said that the song was inspired by the memory of meeting his wife Diane, and how men so often cannot even remember what their wives were wearing when they first met. His own website's FAQ puts it this way:

Q. Is the song "The Lady In Red" written about Diane, Chris' wife? A. There are a lot of different answers to this that Chris has apparently been heard to say. However, the real answer is that this song was inspired by a moment when Chris saw Diane across a crowded nightclub, without at first realising it was her. As a result he realised that often people never quite appreciate that the most important person in their lives is taken for granted, and how after a while you fail to notice the things that brought you together. This was the basis of the song but it wasn't written either for or about Diane.

Other notable songs include the funny-spirited "Patricia the Stripper", the mythological "Spanish Train", the medievally evocative The Tower, and "A Spaceman Came Travelling". Some of his songs deal with death "Don't Pay the Ferryman" (with its background quote from ''The Tempest''), whereas others like "Missing You" plainly deal with romance; "Borderline" and "Say Goodbye To It All" deal with themes of war, and its futility. The latter is based loosely on Hemingway's novel ''A Farewell To Arms''. In 2001, he travelled to Germany and recorded "Separate Tables" in a new duet version with Vicky Leandros. His songs have appeared in films as diverse as ''Arthur 2'', ''American Psycho'' and ''Dodgeball'' and his records have reported sales of more than forty million units internationally. For the album ''Timing is Everything'', he teamed up with Lebanese singer Elissa for the recording of his single "Lebanese Night", which became a big hit in Lebanon. His CD release ''The Storyman'' contains the title track "The Storyman" which — in its lyrics — lists 30 of his most famous tracks.

He has been a guest performer several times on the Lebanese Star Academy finals. He is most famous in Lebanon and the Arab world for his collaboration with Lebanese diva Elissa entitled 'Lebanese Nights'. "My Father's Eyes", from ''The Storyman'', was another hit that featured an Egyptian, Hani Hussein.

He has recently released the song 'Live for the day' a duet with Lebanese Star Academy 4 contestant Tina Yamout.

Chris de Burgh’s album "Footsteps" was released in Germany, Switzerland and Austria in November 2008 and later in the UK, featuring a bonus track unavailable anywhere else.(Rhythm of the rain/Crying in the rain).

Chris de Burgh’s latest album "Moonfleet & Other Stories" was released in 2010.

Band line-up

''1977–1978 – Jeff Philips, Glenn Morrow, Ken Allardyce, Colin Vallance (joined in 1978)

''1979–1982 – Tim Wynveen, Jeff Philips, Glenn Morrow, Al Marnie, Ian Kojima

''1983–1994 – Danny McBride (not to be confused with Daniel "Dirty Dan" Hatton McBride), Jeff Philips, Glenn Morrow, Al Marnie, Ian Kojima

''1997–2001 ("Love Songs" and "Quiet Revolution" Tour) – Neil Taylor, Peter Oxendale, Tony Kiley, Dave Levy, Al Vosper ''2002–2004 ("Timing Is Everything" Tour) – Gary Sanctuary, Tim Cansfield, Dave Levy, Tony Kiley, Al Vosper ''2006–Present ("The Storyman" Tour) – Ebbe Ravn, Al Vosper, Dave Levy, Tony Kiley, Nigel Hopkins

Personal life

Chris de Burgh has been married to his wife Diane since 1977 and lives in Enniskerry, County Wicklow in Ireland. They have two sons, Hubie and Michael, and a daughter, Rosanna, who won the Miss World competition in 2003 for Ireland. He is an avid Liverpool F.C. supporter as is Rosanna and they often attend matches at Anfield.

In 1994, he was found to have had an affair with his children's 19 year old Irish nanny, Maresa Morgan, who was assisting the family while de Burgh's wife, Diane was recuperating in the hospital from a broken neck during a horse-riding accident. His daughter Rosanna, a model, indicated during an interview with ''The Irish Independent'' that she held little sympathy for Morgan, regarding the latter's portrayal of herself as a victim as "pathetic" and hoped "she pays" for her mistake". She forgave her father for his affair. Ms. Morgan was so traumatised, she moved to France following Davison's comments.

De Burgh has pursued and won 16 defamation actions.The Irish Independent said he has always been a bit prickly about criticism. Peter Crawley, a theatre reviewer at The Irish Times, found this out the hard way when he wrote a less than sympathetic review of de Burgh's show in Dublin's Gaiety Theatre in September 2009. Crawley noted: "He departs the stage for 'Lady in Red', invading boxes and draping himself over audience members . . . Certain toes will never uncurl after this experience, but it is almost admirable how unaltered de Burgh has remained by the flow of time." In a lengthy, much-publicised reply to the critic, de Burgh made his feelings known, particularly in the postscript:-

"We were wondering by way of explanation and, as you seem to portray yourself as a bitter and unfulfilled man, were you much teased by your school chums in the schoolyard and called 'Creepy Crawley'?" De Burgh wrote.

Discography

Albums and compilations

Chris de Burgh was signed to A&M; Records for many years (1974–2004), but he now has his own label, ''Ferryman Productions''. His recent albums are released by German label, Edel Records.

Studio albums

''Far Beyond These Castle Walls'', 1975 (#1 Brazil)

''Spanish Train and Other Stories'', 1975 (#78 in 1985)

''At the End of a Perfect Day'', 1977

''Crusader'', 1979 (#72 in 1986)

''Eastern Wind'', 1980 #1 Norway

''The Getaway'', 1982 (#30 UK, #1 Germany, #43 US)

''Man on the Line'', 1984 (#11 UK, #1 Germany, #69 US, #1 Switzerland)

''Into the Light'', 1986 (#2 UK, #2 Germany, #1 Ireland, #25 US)

''Flying Colours'', 1988 (#1 UK, #1 Ireland, #1Germany)

''Power of Ten'', 1992 (#3 UK, #1 Germany, #3 Switzerland)

''This Way Up'', 1994 (#5 UK, #4 Germany)

''Beautiful Dreams'', 1995 (#33 UK, #29 Germany, #24 Switzerland)

''Quiet Revolution'', 1999 (#23 UK, #6 Germany, #10 Switzerland)

''Timing Is Everything'', 2002 (#41 UK, #12 Germany, #18 Switzerland)

''The Road To Freedom'', 2004 (#75 UK, #5 Germany, #22 Switzerland, #18 Netherlands, #39 Austria, #42 Belgium)

''The Storyman'', 2006 #38 UK, #8 Germany, #28 Switzerland, #18 Netherlands)

''Footsteps'', 2008 (#4 UK, #9 Germany (Platinum ), #22 Switzerland, #12 Denmark, #22 Ireland, #38 Austria, #40 Poland, #55 Sweden) ''Moonfleet & Other Stories'', 2010 (#25 UK, #33 Ireland, #3 Germany (Gold ), #31 Switzerland, #42 Austria, #100 Canada)

''Footsteps 2'', to be released on 14 October 2011

Compilation albums

''Best Moves'', 1981 (#65 UK, #5 Germany, #4 Norway)

''The Very Best of Chris de Burgh'', 1984, (#6)

''Spark to a Flame: The Very Best of Chris de Burgh'', 1989 (#4 UK, #2 Germany)

''The Love Songs'', 1997 (#8 UK, #51 Germany)

''The Ultimate Collection'', 2000

''Notes from Planet Earth - The Ultimate Collection'', 2001 (#19 UK)

''Gold'', 2007

''Much More Than This (Box Set) 2007

''Now and Then'', 2008 (#12 UK)

Live albums

''High on Emotion: Live from Dublin'', 1990 (#15)

''Live in South Africa'', 1997

''The River Sessions'', 2004

''Live In Dortmund'', 2005 #39 Germany

''Live In Moscow'', 2007

Videos and DVDs

''Chris de Burgh - The Video, 1983 (Video)

''The Munich Concert, 1985 (Video)

''High on Emotion: Live from Dublin, 1990 (Video)

''Beautiful Dreams, 1995 (Video and DVD)

''Benefit for Volendam, 2001 (Video and DVD)

''The Road To Freedom - Live in Concert (DVD)

''The Words I Love You – Feat Arian Band (HD Quality DVD)

Footsteps – Live In Concert – With Band. (2010 DVD), features unreleased songs such as "The Diary of Mary Rose"

UK and world top 200 singles

Hold on (1974 -#)

Flying/Turning Around (1975 – #1 in Brazil 17 weeks)

A Spaceman Came Travelling (1976 – #1 in Ireland, #3 France)

Just Another Poor Boy (1977 – #8 in South Africa)

The Devils' Eye (1979) – #)

The Traveller (1980)- #106 US)

Sailor (1981 – #16 in Ireland)

Waiting for the Hurricane (1981 – #)

Don't Pay the Ferryman (1982 – #48 UK, #5 Australia, #9 Ireland, #24 Germany, #34 US, #29 US Rock, #7 Canada, #6 France, #19 Poland)

The Getaway (1982 – #8 Norway, #24 Ireland)

Ship to Shore, (1983 – #71 US, #69 Germany, #4 France)

Where peaceful Waters Flow (1983 – #17 Ireland, #52 Germany)

Borderline (1983 – #12 Ireland)

High On Emotion (1984 – #44 UK, #1 France, #12 Germany, #44 US, #3 US ROCK #5 Ireland, #5 Switzerland, Austria # 12, Canada #11, )

Ecstasy Of Flight (I Love The Night) (1984 – #80 UK, #20 Ireland, #49 Germany, #29 Switzerland, France #1, Poland #17)

Sight and Touch (1985 – #)

Fire On The Water (1986 – #88 UK, #19 Ireland, #46 Germany, #16 Switzerland)

The Lady in Red #1 in 15 Countries (1986 – #1 UK, #3 US, #1 Ireland, #5 Germany, #18 Switzerland)

Fatal Hesitation (1986 – #44 UK, #7 Ireland, #20 US Adult Contemporary)

A Spaceman Came Travelling/The Ballroom Of Romance (1986 – #40 UK, #15 Ireland)

One Word (Straight from the Heart),( 1987 -#60 Germany, #4 France)

The Simple Truth (A Child Is Born) (1987 – #55 UK, #10 Ireland, #31 Germany )

Love is my decision ( 1988 – #36 US(Adult Contemporary)

Missing You (1988 – #3 UK, #38 US (Adult Contemporary), #1 Ireland, #3 Germany, #20 Switzerland, #17 Poland)

Tender Hands (1989 – #43 UK, #18 Ireland, #10 France, #40 Poland, #70 Japan)

Sailing Away (1989 – #78 UK, #9 Germany, #56 Switzerland, #8 France)

This Waiting Heart (1989 – #59 UK, #13 Germany, #15 Ireland, #27 Switzerland)

Diamond In The Dark (1989 – #95 UK)

Don't Pay The Ferryman (live) (1990 – #84 UK)

The Simple Truth (1991) (1991 – #36 UK re-issue)

Separate Tables (1992 – #30 UK, #14 Ireland, #39 Germany, #25 Switzerland, #9 France, #46 Poland)

By My Side (1992 – #15 Germany)

Making the Perfect Man (1992 – #30 UK, #4 France)

Shine on ( 1992 – #)

Blonde Hair Blue Jeans (1994 – #51 UK )

This Silent World (1994 #)

Here is Your Paradise (1994 #)

The Snows Of New York (1995 – #60 UK)

I'm not crying over you (1996- #78 UK)

Riding on a rainbow ( 1996- #49 Poland)

So Beautiful (1997 – #29 UK, #43 Poland, #64 Brazil)

Forevermore (1998 – #17 Latvia)

When I Think Of You (1999 – # UK 59)

A Woman's Heart (2000 – #50 Poland)

The Same Sun, (2000 – #)

Two Sides to Every Story (2001 #172 UK)

Lebanese Night (2002 – #1 Lebanon)

Guilty Secret (2002 – #121 UK, #48 Poland)

Five Past Dreams (2004 – #)

Patricia the Stripper (2005– #3 Ireland)

One World (2006 – #99 Germany)

A Spaceman came travelling (2007- #UK 151)

A Spaceman came travelling (2009- #UK 167)

The Bells of Christmas/You'll Never Walk Alone (2009 – #UK)

Everywhere I Go (2010 – #34 UK airplay chart)

A Spaceman came travelling ( 2010- new recording #187 UK)

Lonely Sky – Ben & Jamie Hazelby feat Chris De Burgh (2010 – #36 Uk Singles Chart 26/12/2010, #4 UK itunes chart)

Filmography

''How to Cheat in the Leaving Certificate'' (Petrol Pumper)

References

External links

CdeB.com, official Web site

CdeB.net, official record store and merchandise site

Chrisdeburgh.net, Multi-Language Chris de Burgh Website

Audio interview at BBC Wiltshire

Interview with Akira The Don

Category:1948 births Category:Alumni of Trinity College, Dublin Category:Living people Category:Irish male singers Category:Irish pop singers Category:Irish singer-songwriters Category:Irish songwriters Category:British male singers Category:British pop singers Category:British singer-songwriters Category:British songwriters Category:Old Marlburians Category:People from Santa Fe Province Category:Argentine people of Irish descent

ar:كريس دو بيرغ cy:Chris de Burgh da:Chris de Burgh de:Chris de Burgh es:Chris de Burgh fa:کریس دی برگ fr:Chris de Burgh id:Chris de Burgh it:Chris de Burgh ka:კრის დე ბურგი la:Chris de Burgh nl:Chris de Burgh ja:クリス・デ・バー no:Chris de Burgh pl:Chris de Burgh pt:Chris de Burgh ru:Крис де Бург ckb:کریس دی بێرگ sv:Chris de Burgh tr:Chris de Burgh

name	Ian Dury
landscape	Yes
background	solo_singer
birth name	Ian Robins Dury
birth date	May 12, 1942
Birth place	Harrow, Middlesex, England, UK
origin	Upminster, England, UK
death date	March 27, 2000
instrument	Vocals, drums
genre	Rock and roll revival, protopunk, New Wave, funk
occupation	Singer, lyricist, actor
years active	1971–2000
label	Dawn, Stiff, Polydor, Demon, Ronnie Harris
associated acts	The Blockheads, Kilburn & the Highroads
website	IanDury.com }}

Ian Robins Dury (12 May 1942 – 27 March 2000) was an English rock and roll singer, lyricist, bandleader and actor who initially rose to fame during the late 1970s, during the punk and New Wave era of rock music. He is best known as founder and lead singer of the British band Ian Dury and the Blockheads, who were one of the groups of the New Wave era in the UK.

Biography

Early life

Dury was born in north-west London at his parents' home at 43 Weald Rise, Harrow Weald, Harrow (although he often pretended, and indeed all but one of his obituaries in the national press stated, that he was born in Upminster, Havering). His father, William George Dury (born 23 September 1905, Southborough, Kent; died 25 February 1968), was a bus driver and former boxer, while his mother Margaret (known as "Peggy", born Margaret Cuthbertson Walker, 17 April 1910, Rochdale, Lancashire) was a health visitor, the daughter of a Cornish doctor, and granddaughter of an Irish landowner.

William Dury trained with Rolls-Royce to be a chauffeur, and was then absent for long periods, so Peggy Dury took Ian to stay with her parents in Cornwall. After the Second World War, the family moved to Switzerland, where his father chauffeured for a millionaire and the Western European Union. In 1946 Peggy brought Ian back to England and they stayed with her sister, Mary, a physician in Cranham, a small village bordering Upminster. Although he saw his father on visits, they never lived together again.

At the age of seven, he contracted polio; very likely, he believed, from a swimming pool at Southend on Sea during the 1949 polio epidemic. After six weeks in a full plaster cast in Truro hospital, he was moved to Black Notley Hospital, Braintree, Essex, where he spent a year and a half before going to Chailey Heritage Craft School, East Sussex, in 1951. Chailey was a school and hospital for disabled children, and believed in toughening them up, contributing to the observant and determined person Dury became. Chailey taught trades such as cobbling and printing, but Dury's mother wanted him to be more academic, so his aunt Moll arranged for him to enter the Royal Grammar School, High Wycombe which he attended until the age of 16 when he left to study painting at Walthamstow Art College, having gained GCE 'O' Levels in English Language, English Literature and Art.

From 1964 he studied art at the Royal College of Art under British artist Peter Blake, and in 1967 took part in a group exhibition, ''Fantasy and Figuration'', alongside Pat Douthwaite, Herbert Kitchen and Stass Paraskos at the Institute of Contemporary Arts in London. When asked why he did not pursue a career in art, he said, ''"I got good enough [at art] to realise I wasn't going to be very good."'' From 1967 he taught art at various colleges in the south of England.

Dury married his first wife, Elizabeth "Betty" Rathmell (born 12 August 1942, Leamington Spa, Warwickshire), on 3 June 1967 and they had two children, Jemima (born 4 January 1969, Hounslow, Middlesex) and the recording artist Baxter Dury. Dury divorced Rathmell in 1985, but remained on good terms. He also co-habited with a teenage fan, Denise Roudette, for 6 years after he moved to London.

Kilburn & the High Roads

Dury formed Kilburn & the High Roads (a pun on the road in North West London) in November 1970. Dury was vocalist and lyricist, co-writing with pianist Russell Hardy and later enrolling into the group a number of the students he was teaching at Canterbury College of Art, including guitarist Keith Lucas (who later became the guitarist for 999 under the name Nick Cash) and bassist Humphrey Ocean. Managed first by Charlie Gillett and Gordon Nelki and latterly by fashion entrepreneur Tommy Roberts, the Kilburns found favour on London's pub rock circuit and signed to Dawn Records in 1974, but despite favourable press coverage and a tour opening for The Who, the group failed to rise above cult status and disbanded in 1975.

The Blockheads

Under the management of Andrew King and Peter Jenner, the original managers of Pink Floyd, Ian Dury and the Blockheads quickly gained a reputation as one of the top live acts of New Wave music. They built up a dedicated following in the UK and other countries and scored several hit singles, including "What a Waste", "Hit Me With Your Rhythm Stick" (which was a UK number one at the beginning of 1979, selling just short of a million copies), "Reasons to be Cheerful, Part 3" (number three in the UK in 1979), and the rock and roll anthem "Sex & Drugs & Rock & Roll". (Although it is sometimes claimed that Dury coined the phrase, there is evidence that it was already in common use and a virtually identical wording was used by Australian band Daddy Cool for the title of their second album ''Sex, Dope & Rock'n'Roll: Teenage Heaven'', released in 1972.) The tune is based on part of Charlie Haden's bass solo on "Ramblin'" on Ornette Coleman's 1959 album ''Change of the Century''.

Dury's lyrics are a distinctive combination of lyrical poetry, word play, observation of British everyday (working-class) life, acute character sketches, and vivid, earthy sexual humour. ''"This is what we find ... [H]ome improvement expert Harold Hill of Harold Hill, Of do-it-yourself dexterity and double-glazing skill, Came home to find another gentleman's kippers in the grill, So he sanded off his winkle with his Black & Decker drill."'' The song "Billericay Dickie" continues this sexual content, rhyming ''"I had a love affair with Nina, In the back of my Cortina"'' with ''"A seasoned-up hyena Could not have been more obscener".''

The Blockheads' sound drew from its members' diverse musical influences, which included jazz, rock and roll, funk, and reggae, and Dury's love of music hall. The band was formed after Dury began writing songs with pianist and guitarist Chaz Jankel (the brother of noted music video, TV, commercial and film director Annabel Jankel). Jankel took Dury's lyrics, fashioned a number of songs, and they began recording with members of Radio Caroline's Loving Awareness Band—drummer Charley Charles (born Hugh Glenn Mortimer Charles, Guyana 1945), bassist Norman Watt-Roy, keyboard player Mick Gallagher, guitarist John Turnbull – and former Kilburns saxophonist Davey Payne. An album was completed, but major record labels passed on the band. However, next door to Dury's manager's office was the newly formed Stiff Records, a perfect home for Dury's maverick style. Their classic single "Sex & Drugs & Rock and Roll" marked Dury's Stiff debut and although it was banned by the BBC it was named Single of the Week by ''NME'' on its release. It was soon followed by the album ''New Boots and Panties!!'', which was eventually to achieve platinum status.

In October 1977 Dury and his band started performing as Ian Dury & the Blockheads, when the band signed on for the Stiff "Live Stiffs Tour" alongside Elvis Costello & the Attractions, Nick Lowe, Wreckless Eric, and Larry Wallis. The tour was a success, and Stiff launched a concerted Ian Dury marketing campaign, resulting in the Top Ten hit, "What a Waste", and the classic hit single, "Hit Me With Your Rhythm Stick", which reached #1 in the UK, was notably not included on the original release of their subsequent LP ''Do It Yourself''. Both the single and its accompanying music video featured Davey Payne playing two saxophones simultaneously during his solo, in evident homage to jazz saxophonist Rahsaan Roland Kirk, whose 'trademark' technique this was.

The band's second album ''Do It Yourself'' was released in June 1979 in a Barney Bubbles-designed sleeve of which there were over a dozen variations, all based on samples from the Crown wallpaper catalogue. Bubbles also designed the Blockhead logo (illustrated on the left) which received international acclaim, and continued to be used by the Blockheads after Dury's death, e.g. on their DVD: ''Live in Colchester 2004''.

Jankel left the band temporarily and relocated to the U.S. after the release of "What A Waste" (his organ part on that single was overdubbed later) but he subsequently returned to the UK and began touring sporadically with the Blockheads, eventually returning to the group full-time for the recording of "Hit Me With Your Rhythm Stick"; according to Mickey Gallagher, the band recorded 28 takes of the song but eventually settled on the second take for the single release. Partly due to personality clashes with Dury, Jankel quit the group again in 1980, after the recording of the ''Do It Yourself'' LP, and he returned to the USA to concentrate on his solo career. The group worked solidly over the eighteen months between the release of "Rhythm Stick" and their next single, "Reasons To Be Cheerful", which returned them to the charts, making the UK Top 10. Jankel was replaced by former Dr. Feelgood guitarist Wilko Johnson, who also contributed to the next album ''Laughter'' and its two minor hit singles, although Gallagher recalls that the recording of the ''Laughter'' album was difficult and that Dury was drinking heavily in this period. In 1980–81 Dury and Jankel teamed up again with Sly and Robbie and the Compass Point All Stars to record ''Lord Upminster''. The Blockheads toured the U.K and Europe throughout 1981, sometimes augmented by jazz legend Don Cherry on trumpet, ending the year with their only tour of Australia. The Blockheads disbanded in early 1982 after Dury secured a new recording deal with Polydor Records through A&R; man Frank Neilson. Choosing to work with a group of young musicians which he named The Music Students, he recorded the album ''Four Thousand Weeks' Holiday''. This album marked a departure from his usual style and was not as well received by fans for its American jazz influence.

The Blockheads briefly reformed in June 1987 to play a short tour of Japan, and then disbanded again. In September 1990, following the death from cancer of drummer Charley Charles, they reunited for two benefit concerts in aid of Charles' family, held at The Forum, Camden Town, with Steven Monti on drums. In December 1990, augmented by Merlin Rhys-Jones on guitar and Will Parnell on percussion, they recorded the live album ''Warts & Audience'' at the Brixton Academy.

The Blockheads (minus Jankel, who returned to California) toured Spain in January 1991, then disbanded again until August 1994 when, following Jankel's return to England, they were invited to reform for the Madstock Festival in Finsbury Park; this was followed by sporadic gigs in Europe, Ireland, the U.K. and Japan through late 1994 and 1995. In the early 1990s, Dury appeared with English band Curve on the benefit compilation album ''Peace Together''. Dury and Curve singer Toni Halliday shared vocals on a cover of the Blockheads' track "What a Waste".

In March 1996 Dury was diagnosed with cancer and, after recovering from an operation, he set about writing another album. In early 1998 he reunited with the Blockheads to record the well-received album ''Mr Love-Pants''. In May, Ian Dury & the Blockheads hit the road again, with Dylan Howe replacing Steven Monti on drums. Davey Payne left the group permanently in August and was replaced by Gilad Atzmon; this amended line-up gigged throughout 1999, culminating in their last performance with Ian Dury on 6 February 2000 at the London Palladium. Dury died six weeks later on 27 March 2000.

The Blockheads have continued after Dury's death, contributing to the tribute album ''Brand New Boots And Panties'', then ''Where's The Party''. The Blockheads still tour, and are currently recording a new album. They currently comprise Jankel, Watt-Roy, Gallagher, Turnbull, John Roberts on drums, Gilad Atzmon and Dave Lewis on saxes. Derek The Draw (who was Dury's friend and minder) is now writing songs with Jankel as well as singing. They are aided and abetted by Lee Harris, who is their 'aide de camp'.

Spasticus Autisticus

Dury's 1981 song "Spasticus Autisticus"—written to show his disdain for that year's International Year of Disabled Persons, which he saw as patronising and counter-productive—was banned by the BBC. Dury was a disabled person himself, having been left crippled by childhood polio. The lyrics were uncompromising:

:So place your hard-earned peanuts in my tin :And thank the Creator you're not in the state I'm in :So long have I been languished on the shelf :I must give all proceedings to myself

The song's refrain, "I'm spasticus, autisticus" was inspired by the response of the rebellious Roman gladiators in the film ''Spartacus'', who, when instructed to identify their leader, all answered, "I am Spartacus", to protect him. According to Professor George McKay, in a 2009 article in ''Popular Music'' called 'Crippled with nerves' (an early Dury song title):

:Ian Dury, that ‘flaw of the jungle’, produced a remarkable and sustained body of work that explored issues of disability, in both personal and social contexts, institutionalisation, and to a lesser extent the pop cultural tradition of disability. He also, with the single ‘Spasticus Autisticus’ (1981), produced one of the outstanding protest songs about the place of disabled people in what he called ‘normal land’.

Acting and other activities

Dury's confident and unusual demeanour caught the eyes of producers and directors of drama. His first important and extensive role was in Farrukh Dhondy's mini-series for the BBC, ''King of the Ghetto'' (1987), a drama set in London's multi-racial Brick Lane area with a cast led by a young Tim Roth. Dury had small parts in several films, probably the most well-known of which was Peter Greenaway's ''The Cook, the Thief, His Wife & Her Lover'', as well as cameo appearances in Roman Polanski's ''Pirates'' and the Sylvester Stallone science fiction film Judge Dredd. He also made an appearance in the film Split Second starring Rutger Hauer and Kim Catrell

Dury also wrote a musical, ''Apples'', staged in London's Royal Court Theatre. He had a small supporting role in ''The Crow: City of Angels'', directed by Tim Pope, who had directed a few of Dury's music videos. He also appeared alongside fellow lyricists Bob Dylan and Tom Waits, respectively, in the movies ''Hearts of Fire'' (1987) and ''Bearskin: An Urban Fairytale'' (1989). In 1987 he appeared as the narrator (Scullery) in ''Road'' at the Royal Court Theatre. Among the cast was actress and singer Jane Horrocks, who cohabited with Dury until late in 1988, although the relationship was kept discreet.

Dury wrote and performed the theme song "Profoundly in Love with Pandora" for the television series ''The Secret Diary of Adrian Mole, Aged 13¾'' (1985), based on the book of the same name by Sue Townsend, as well as its follow-up, ''The Growing Pains of Adrian Mole'' (1987). Dury turned down an offer from Andrew Lloyd Webber to write the libretto for ''Cats'' (from which Richard Stilgoe reportedly earned millions). The reason, said Dury, "I can't stand his music." "... I said no straight off. I hate Andrew Lloyd Webber. He's a wanker, isn't he? ... [E]very time I hear 'Don't Cry for Me Argentina' I feel sick, it's so bad. He got Richard Stilgoe to do the lyrics in the end, who's not as good as me. He made millions out of it. He's crap, but he did ask the top man first!"

When AIDS first came to prominence in the mid-1980s, Dury was among celebrities who appeared on UK television to promote safe sex, demonstrating how to put on a condom using a model of an erect penis. In the 1990s, he became an ambassador for UNICEF, recruiting stars such as Robbie Williams to publicise the cause. The two visited Sri Lanka in this capacity to promote polio vaccination. Dury appeared with Curve on the ''Peace Together'' concert and CD (1993), performing "What a Waste", with benefits to the Youth of Northern Ireland. He also supported the charity Cancer BACUP.

Dury appeared in the ''Classic Albums'' episode that focused on Steely Dan's album, ''Aja''. Dury commented that the album was one of the most "hopeful" he'd ever heard, and that the album "lifted [his] spirits up" whenever he played it. He also felt that it showed Steely Dan's love for jazz musicians and that it had "California in its blood...[even though it was recorded by] boys from New York."

Dury also appeared at the end of the Carter USM track 'Skywest & Crooked' narrating from the book Don Quixote. The track appeared on ''1992 – The Love Album''.

Illness

It was known for some time before his death that Dury had cancer. He was diagnosed with colorectal cancer in 1996 and underwent surgery, but tumours were later found in his liver, and he was told that his condition was terminal. Upon learning of his illness Dury took the opportunity to marry his girlfriend, sculptress Sophy Tilson, with whom he had two children, Billy and Albert.

In 1998, his death was incorrectly announced on XFM radio by Bob Geldof, possibly due to hoax information from a listener.

In 1999, Dury collaborated with Madness on their first original album in fourteen years on the track "Drip Fed Fred". Suggs and the band cite him as a great influence. It was to be one of his last recordings.

Ian Dury & The Blockheads' last performance was a charity concert in aid of Cancer BACUP on 6 February 2000 at The London Palladium, supported by Kirsty MacColl and Phill Jupitus. Dury was noticeably ill and had to be helped on and off stage.

Death

Dury died of metastatic colorectal cancer on 27 March 2000, aged 57. An obituary in ''The Guardian'' read: "one of few true originals of the English music scene". Meanwhile, he was described by Suggs, the singer of Madness, as "possibly the finest lyricist we've seen." The Ian Dury website opened an online book of condolence shortly after his death, which was signed by hundreds of fans. The 250 mourners at his funeral included fellow musicians Suggs and Jools Holland as well as other "celebrity fans" such as MP Mo Mowlam.

Legacy

Dury's son, Baxter Dury, is also a singer. He sang a few of his father's songs at the wake after the funeral, and has released his own albums – ''Len Parrot's Memorial Lift'' and ''Floor Show''.

In 2002, a "musical bench" was placed in a favoured viewing spot of Dury's, Poet's Corner, near Pembroke Lodge, within Richmond Park, south-west London (see map at the Richmond Gate). This solar powered seat was intended to allow visitors to plug in and listen to eight of his songs as well as an interview, but has been subjected to repeated vandalism.

In 2009, a musical about his life entitled ''Hit Me! The Life & Rhymes of Ian Dury'', was premiered at the Leicester Square Theatre in London, running from 6 January-14 February 2009.

Principal photography for the biopic ''Sex & Drugs & Rock & Roll'' began in May 2009. Starring Andy Serkis as Dury, the film was released on 8 January 2010. Ray Winstone and Naomie Harris also appeared.

A musical, ''Reasons to be Cheerful'', was produced by the Graeae Theatre Company in association with Theatre Royal Stratford East and New Wolsey Theatre. Set in 1979 the musical featured Dury classics in a "riotous coming-of-age tale". The 2010 production was supported by the Blockheads, while Sir Peter Blake, donated a limited edition print of the Reasons to be Cheerful artwork.

Discography

See also

Barney Bubbles

Stiff Records

Bus Driver's Prayer

Sex & Drugs & Rock & Roll (film)

Quotations

''NME'' – December 1977 ''NME'' – June 1979

References

Further reading

''Guinness Book of British Hit Singles'' 7th Edition

George McKay (2009). '"Crippled with nerves": popular music and polio, with particular reference to Ian Dury'. ''Popular Music'' vol. 28:3, pp. 341–365.

External links

theblockheads.com: The Blockheads' Biography

theblockheads.com: The Blockheads' Discography

New Ian Dury Biography by Will Birch

Guardian obituary for Ian Dury

Jools Holland biography of Ian Dury (archived 2003)

BBC News website report on Dury's funeral

BBC Music artist biography

Dury's obituary in ''The Times''

17 August 1998 interview with ''The Independent'' ("Ian Dury: Great sense of tumour")

Institute for Performing Arts Development

Category:1942 births Category:2000 deaths Category:Academics of the University for the Creative Arts Category:Alumni of the Royal College of Art Category:English male singers Category:Old Wycombiensians Category:People from Harrow, London Category:People from Upminster Category:People from Cornwall Category:Pub rock musical groups Category:Protopunk musicians Category:English New Wave musicians Category:Poliomyelitis Category:People with disabilities Category:Dawn Records artists

cs:Ian Dury da:Ian Dury de:Ian Dury es:Ian Dury fr:Ian Dury it:Ian Dury nl:Ian Dury no:Ian Dury pl:Ian Dury pt:Ian Dury ru:Дьюри, Иэн fi:Ian Dury sv:Ian Dury tr:Ian Dury

name	Patricia Barber
background	solo_singer
birth name	Patricia Barber
birth date	November 08, 1955
origin	Chicago, Illinois
instrument	Voice, Piano
genre	jazz
occupation	Musician, Vocalist, Pianist, Bandleader
associated acts	Mobile Fidelity Sound Lab
website	Official Site
notable instruments	Piano }}

Patricia Barber (born November 8, 1955, Chicago, Illinois) is an American jazz and blues singer, pianist, songwriter, and bandleader. She was awarded Guggenheim Fellowship in 2003 in ''Creative Arts - Music Composition'' field.

Biography

She was born to parents who were both professional musicians; her father is Floyd "Shim" Barber, a former member of Glenn Miller's Band. She was raised in South Sioux City, Nebraska.

Her music is centered on her singing, in a fairly low register and a traditional blues-jazz style, and her piano playing, which is technically accomplished. Her repertoire includes original compositions and standards drawn mostly from classic rock, including "Ode to Billie Joe," "A Taste of Honey," and "Black Magic Woman." She is known for imbuing her songs with intelligence and a wide and unusual vocabulary, which results in complex and witty lyrics. Her 2006 album, ''Mythologies,'' is a set of songs based on Ovid's Metamorphoses. In 2007, Premonition Records presented ''The Premonition Years: 1994-2002'', a three-CD box set of Barber recordings divided into originals, standards, and pop. The set includes unreleased tracks and selected songs previously released on ''Cafe Blue'', ''Modern Cool'', ''Companion'', ''Nightclub'' and ''Verse''. Those five albums have been reissued by Mobile Fidelity Sound Lab on SACD and limited edition 45 rpm half speed mastered, 180 gram audiophile vinyl. In September 2008, she released "The Cole Porter Mix," a collection of her unique takes on the classic Cole Porter songbook, as well as three original compositions inspired by Porter.

Barber is a lesbian; interviews with her suggest that she does not try to hide this fact, but that she 'tires' of the public interest in her sexuality and dislikes the fact that it contributes to her fame. In November 2008, she was interviewed by Gregg Shapiro of ''Gay & Lesbian Times'', a San Diego magazine.

Said about

''Verse'' by Patricia Barber (Blue Note Records) (2002) Reviewed by Baul West, Allaboutjazz

Discography

''Split'' Premonition Records (1989)

''Distortion of Love'' Antilles (1992)

''Cafe Blue'' (Two versions) Blue Note, Premonition Records (1994)

''Modern Cool'' (Three versions) Blue Note, Premonition Records (1998)

''Companion'' Blue Note, Premonition Records (1999)

''Nightclub'' Blue Note, Premonition Records (2000)

''Verse'' Blue Note, Premonition Records (2002)

''Live: A Fortnight In France'' Blue Note (2004)

''Live: France 2004'' DVD Blue Note (2005)

''Mythologies'' (Two versions) Blue Note (2006)

''The Premonition Years: 1994-2002'' (Three versions:Originals, Standards, Pop songs) Blue Note (2007)

''The Cole Porter Mix'' Blue Note (2008)

References

External links

Patricia Barber's Official Website: http://www.patriciabarber.com/

Interview: Patricia Barber: Complete; Not Complacent, R.J. DeLuke (August 2002)

Interview: San Diego Gay and Lesbian Times

Review: Patricia Barber’s Mythologies: An Ovid for the New Millennium Jazz Police

Patricia Barber collection at the Internet Archive's live music archive

Review of Mythologies by JazzChicago.net

Category:1955 births Category:Living people Category:Post-bop singers Category:Post-bop pianists Category:Cabaret singers Category:American blues singer-songwriters Category:American jazz singers Category:American jazz pianists Category:American female singers Category:Lesbian musicians Category:LGBT musicians from the United States Category:Women in jazz Category:Musicians from Chicago, Illinois

de:Patricia Barber es:Patricia Barber fr:Patricia Barber nl:Patricia Barber pl:Patricia Barber