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Argentine punk is punk rock from Argentina.

1976–1983: Military dictatorship years[link]

1976 is the year in which punk music started to emerge in the United Kingdom with bands like the Sex Pistols and The Clash. That same year a military dictatorship known as National Reorganization Process began in Argentina. The repressive policy of the military government against the dissidents was to kidnap them (the disappeared and became desaparecidos), torture, and murder them in illegal concentration camps.

Considering the political background and the obvious censorship, the anarchic and revolutionary ideas of punk rock where prohibited and so from the first years of the Argentine punk rock are poorly documented, mainly because it took place in an extremely underground scene. Because of this adverse context, the birth of punk rock in Argentina has an heroic and almost mythical status. In 1982 Argentina lost the Falklands war to the United Kingdom. This did not help the popularity of UK-inspired punk even after the censorship was over.

Original bands[link]

The first Argentine punk bands were:

• Los Laxantes (1979–1983): featured Félix Sagnia (bass) and Gamexane (guitar) among their members. Both of them would later become the founding members of the infamous Todos Tus Muertos in 1985. The band only recorded one demo.
• Alerta Roja (1981–1987) : Bandmembers Pablo Strangler (guitar) Fernan (drums) Daniel (bass) and Mongo (voice) later Chiflo(sax)and Ucci (guitar) who replace to Pablo Strangler. One most popular band together to Los Violadores in the begin from the movement and maybe the most political group. Discography: "Derrumbando La Casa Rosada" 1983 and "El Llanto Interior" 1985

recorded in independent way.

• Los Baraja (1981–1984): their sound could be compared to the Sex Pistols and Dead Boys. Along with Los Violadores, they were the only ones to play UK punk rock in Argentina. The bandmembers were Basura (drums), Alejandro (bass), Marcelo "Vil Baraja" Montolivo (Guitar), Marcelo Poca Vida (voice). Poca Vida would later become a member of the punk band Cadáveres de Niños.
• Los Testículos (1979–1981): according to urban legend, this band was offered the first punk gig in Argentina in 1979. The band featured among its members Hari B., Stuka and Sergio Gramática, who would later become Los Violadores.
• Los Violadores (1981–present): the band was the result of Pil Trafa (voice) meeting the members of Los Testículos. They would become the most important and influential punk band from the early years, probably because they recorded several albums and managed to stay together for a while. They were the only ones to dress up like The Clash and Sex Pistols and their early lyrics would often critizise the military dictatorship even during the time of repression. Their songs "1, 2, Ultraviolento" (inspired on the movie A Clockwork Orange) and "Represión" became official anthems of the punk scene.
• Sumo (1981–1987): they never wanted to be considered as a punk rock band, but many people consider them so. Their singer Luca Prodan had lived in the United Kingdom until 1981 and had experienced the birth of the punk movement. Their style was based on a mix between the sound of The Clash, reggae music and post-punk or new wave bands like Joy Division (Prodan was a close friend of Ian Curtis). Their legacy in the history of Argentine punk is that they brought new musical styles to the ears of the local punks that would later influence many bands that came after them.

1983–1990: Democracy[link]

When the military government ended in 1983 and Raúl Alfonsín's democratic government (1983–1989) started, a new generation of punk bands was born in Argentina. An important album from those years was the compilation Invasión 88 released by Radio Tripoli Records in 1988; a year in which several punk bands started to become popular, and yet most of them were unable to release an album due to financial circumstances. Invasión 88 featured songs by earlier punk bands that had already split up, such as Los Laxantes and Los Baraja, and newer bands such as Attaque 77, Exeroica, Rigidez Kadaverica, Flema, División Autista and Conmoción Cerebral. For many of those bands, those are the only recordings left to this day. The album was criticised by some bands who refused to participate in the album (such as Cadaveres de Niños and Todos tus Muertos) because the compilation featured two songs by far right skinhead Oi! band Comando Suicida.

Bands of the period[link]

Some current bands are:

• Argies (1984–present): Band from Rosario, often compared to The Clash. The name "Argies" is the pejorative apocope for "argentine", expression extensively used by the English soldiers during the war in Malvinas (Falkland) in 1982. Even though their musical root is the British punk from the seventies, the band's lyrics have a testimonial style and, nowadays, turning to a deeper search into the inside of human ethic. Unlike most bands, which have fixed members, Argies works as a cooperative of independent musicians. Each member that comes into the band plays until their personal and free decision to leave, helping to create a cultural movement across the years. Argies has played more than 600 shows in Europe and 61 shows in the United States between 1996 to 2010.
• Morgue Judicial(1983–1987):Sound like mix of Sex Pistols & Dead kennedys.Nihilism to the extreme and too much power in live gigs.Risk (frontman),MLT (Guitars),Jeronimo Punx(bass),Morbus(sax),Magoo(drums).Their songs:"Fecundacion","Anarquistas" and "Piether Botha" are the powerful sample of their sounds.
• Todos Tus Muertos (1985–present): most of the early bands tried to emulate The Ramones but Todos Tus Muertos wanted to go further and incorporate new styles. At the beginning of their career, their sound was heavily influenced by early hardcore punk bands such as Dead Kennedys and Bad Brains; death rock and goth rock bands such as Virgin Prunes, and reggae bands. Quite soon, they became the rulers of the new generation of punk bands in Argentina, but moved on and ended up playing more reggae than punk.
• Cadaveres de Niños (later Cadaveres): its members were Lula (drums), Jorge Gipsy (guitar), Marcelo Poca Vida (member of Los Baraja), Pablo Strangler (guitar) and Patricia Pietrafesa (bass). Pietrafesa would later move on and start She Devils; she was also the publisher of the fanzine Resistencia, the very first punk publication in the country.
• Attaque 77 (1987–present): their style was quite close to the style of The Ramones.
• Flema (1987–2002): when several bands were becoming overtly political, Flema decided to celebrate the most self-destructive side of punk. Attitude, alcohol, drugs and sex were the topics of their songs. Ricky Espinosa was often so drunk during their concerts that he could barely stand up. They probably became the most legendary and influential punk band from Argentina. The band ceased to exist in 2002 when Ricky Espinosa committed suicide.

1990 and later[link]

In the late 1980s, a new musical scene started: the Buenos Aires Hardcore.

New bands like Existencia de Odio (E.D.O.), No Demuestra Interés (N.D.I.), Differentes Actitudes Juveniles (D.A.J.), Minoría Activa and Fun People started to bring new styles to the local scene of Argentina.

Current bands[link]

• Drogadictos(1999–present):Probably the most raw band the buenos aires rock scene has ever witnessed.
• 2 Minutos (1987–present): One of the most famous punk bands in Argentina during the 1990s, highly influential across the Spanish-speaking world, and the only one who got to play in the USA. Quite soon they became extremely popular due to some radio hits like the anti-police song "Ya no sos igual". They became targets of criticism by older members of the scene like Pil Trafa (singer of Los Violadores) because their 'mediocre' lyrics were always about beer, football and getting drunk.
• Fun People (1989–2000): Their lyrics and style introduced new subjects that the previous punk bands had often ignored: criticism of the traditional gender roles, vegetarianism, the right of legal abortion and gay rights. However the band would often mix their political ideas with nostalgic love songs that made them get closer to The Smiths than to any punk band. They toured the USA many times. In 2000, Fun People ceased to play and its lead singer started a solo project as Boom Boom Kid, however the other members of the band have joined him in a few gigs as guests, and Fun People has played that way a few times after the year 2000.
• El Otro Yo (1989–present): some people classify their music as punk rock, others as grunge music. Now ir is better desecibed as alternative rock, which in Argentina is different than alternative music in the rest of the world. The became commercially successful and have released many records through their independent label Besotico Records. They have a huge following and their fans define themselves as alternative people. They share a lot of their fanbase with Fun People and both were responsible for the development of the "alternative" subculture.
• Minoría Activa (1991–present): they started to play in the Buenos Aires Hardcore scene. Their style is a mix of metal, punk, hardcore and hip-hop with strong influences from bands like Sick Of It All and Agnostic Front. One of the particular things about this band is that it has two lead singers.
• She Devils (1995–present): it was the first queercore band in Argentina. They started to play in the mid 1990s. Their lead singer Patricia already had a long tradition in the scene (she had been the bass player of Cadaveres de Niños and the publisher of the fanzine Resistencia).
• Mal Momento (1987–present): this group was in the second wave of Argentine punk, with voice Hermann Frederico Pertusi on guitar, Ricky De Leon on bass and Daniel D'Angelo on drums. After years of performances under, came to edit the first record in 1994. The second board, "Fin de fiesta" (1995), incorporates elements of rockabilly and unusual melodies to punk.
• Doble Fuerza (1987–present): formed in the city of Quilmes. Their lyrics make up a rock with punk overtones and influences of rock and roll from the late 50's and 60's, and legendary English punk groups of the '70s. Over the years they were brewing their own style, accompanied by a personal voice, melodies and riffs rockers lasting in time, in his early years their style oi! / Street punk, attracted fascist skinheads to his concerts, which made them abandon this sound.
• Cadena Perpetua (1990–present): with a traditional punk rock sound, between 1993 and 1995 were presented as support band of the Ramones, La Polla Records (four shows) and Steve Jones, while continuing with shows pubs. Then appear in a 2007 disc that celebrates 30 years of punk, along with Los Violadores and 2 Minutos.
• Massacre (1985–present): pioneer skate rock band in Argentina, Massacre Palestina (original name of the band) is formed by high school students in Buenos Aires, bands influenced by the West Coast to fuse hardcore punk-surf-to late seventies and early eighties. (T.S.O.L., Dead Kennedys, Black Flag, etc.). For their attitude based on self-management for over twenty years is considered one of the few bands truly cult of Argentina.
• Bulldog (1989–present):Bulldog, was formed in Rosario, the group was gaining ground and popularity for more than ten year career under, thanks to his style of punk and rock, beginning to reap laurels and make a name nationally with his work "Circus Carousel "a separate disk of 2000 that reflects best sounding punk roots, old hits and also more elaborate songs.

La Argentina

Antonia Mercé y Luque (September 4, 1890 – July 18, 1936), stage name La Argentina, was a dancer known for her creation of the neoclassical style of Spanish dance as a theatrical art.^[1] She was one of the major influences on Japanese butoh dancer Kazuo Ohno.^[2]

It is given to few artists to incarnate in their art, at a given epoch, the distinct characteristics of their race and its conception of the beautiful, and this, in a manner so in complete and significant that their names get identified with a peculiar way of living and the story of their life becomes a page of history. It is to one such artist representative of her art, of her country, of her age that this short study is consecrated. The recent unexpected renaissance of Spanish dancing, an art whose creative power seemed to have been exhausted, is due primarily to the singular genius of one dancer, La Argentina. Alone she has epitomized and regenerated a form long cheapened and falsified by the music-hall gypsies turned out wholesale in Seville. And her indescribable success has loosened a new onslaught of Spanish dancing, the oldest and noblest of European exotics."^[3]

Early life[link]

She was born in Buenos Aires, Argentina. A talented young dancer, her career was greatly influenced by her parents Manuel Mercé (an Andalusian), and Josefina Luque (a Castilian), themselves professional Spanish dancers. It was due to them that La Argentina's entire life was mainly focused on dance, where her parents greatly wanted her to excel. She studied ballet with her parents in her youth. She trained mainly with her father, who taught her to dance at the age of four. When she was nine years old, she debuted at the Teatro Real in Madrid, Spain. At the age of 11, she was a star dancer at the Madrid Opera.

Shortly after the death of her father, La Argentina retired from ballet. After this life-transforming event, at the age of 14, La Argentina started studying native Spanish dances with her mother.

Career[link]

For several years to come, her style of dancing was not highly admired in her society; therefore she could not perform in theatres or in concerts (in which she was used to dancing). She danced wherever she could, which meant performing in café cantantés and music halls.

Prior to World War I, La Argentina was extremely admired in Paris,^{[citation needed]} where she accepted invitations to dance at the Moulin Rouge, the Théâtre des Champs-Élysées, and other important locations. Years later, she took interest in a gypsy-style dance and made it her own.

In her career she made six transcontinental tours in North America, sometimes accompanied by flamenco guitarist Carlos Montoya.

Awards[link]

She received several awards, including the French Légion d'honneur and the Spanish Orden de Isabel la Católica.

Death[link]

She died on July 18, 1936, in Bayonne, France.

Contribution to formal dance[link]

Her contributions to formal dance are expressed in her style, her choice of music, her use of castanets, and her structuring of performances.

Style[link]

« For the past year I have had a passion for Argentina. The rigour of her classical formation, her knowledge and her taste bring dignity and nobleness to Spanish folklore, and fills me with respect. I feel like I am entering the Escurial when I am with her. » (Edwige Feuillère )^[4]

« While there had always been a great flowering of folkloric dances in Spain, the history of formal dance itself began only in 1920 with Argentina and Escudero. Diaghilev admired them a lot. » (Serge Lifar)

« From what it was, a colourful facet of popular culure, Spanish formalized dance turns, thanks to her genius and infinite patience, into a choreographic style destined to universal acceptance. »(Jean Dorcy)

La Argentina created her own style. Spain has 49 provinces with very different traditions, where the levels of artistic interpretation go from the crudest popular taste to the most austere sobriety. Certain dances were shapeless, deformed, and forgotten as society changed. La Argentina revived the folklore, catalogued it, sought traditional steps wherever she could fnd them in village squares and in humble dance schools ; she used diplomacy and even subterfuge to be shown a particular step or dance by the elders, such as occurred near Salamanca, where she was able to reconstitute the genuine charrada. She felt strongly that what was presented under that name on stage was not authentic. In denying its popular ancestral roots, Spanish dance in the theatre had become insipid. Italian and French influences had deprived it of its originality. The spirit of genuine Spanish dance had deserted it. La Argentina rekindled that spirit. ^{[5] [6]}

Parallel with this search for authenticity, she systematically made the dances she found conform to her own aesthetic. She married the purity of classical style with the ardour and character of popular art. No element, musical or plastic, escaped her labour of re-creation. She devoted more than eight hours a day to it, submitting each pattem of steps to her sense of rhythm and music. She refined and pruned, keeping only what was essential, she stylized and transformed the lead of regional dances into the finest gold. Thanks to her, Spanish formal dance went into a new phase, and rose to a hitherto unattained level of sublimation.

What do we mean by stylizing or adapting for the stage ? Stylised dance must retain the nature and flavour of folklore while respecting the demands of the stage. What are these ?

- To create space - To accentuate movement - The different parts must fit into the whole - The body becomes moving architecture.

The Spanish dancer has the advantage on this last point. Classical dance extends the form and inflects only during moments of transition, in linear continuity. Essentially it offers surfaces, the Spanish body volumes. Classical dance offers surfaces because it is a product of the stage. On stage we are best seen from the front and in three quarters profile; seen from the side the body loses its radiance. and from the back it loses it entirely. Traditionally the Spanish dancer is seen from all angles. He constantly offers volumes to the eye. A thousand fluid body positions give vigour, ardour and celerity. Classical dance paints, Spanish dance sculpts. Classical form elongates itself, shimmers, rises on tip-toe ; it glides, it loses substance, becomes idealised. Spanish form is earthy, it strikes, presses, accentuates downward, stays close to the ground. Made of broken lines, of sinuous and constantly inflected form. It is ready to leap not in the air as in classical dance. but like a wild animal. In adapting itself to the stage, Spanish dance must retain its specific shapes. If it conforms only to stage demands, it would undoubtedly turn into classical dance. It has no right to do so, because of its roots: it is born in the street, in the bars. It represents a region. It reflects the life of the people. its games and bullfighting, the enticing fan of a young girl, African eroticism, oriental gypsy mystery. The court dancer did not possess the triple benefit of their historical, ethnographical and psychological background. That is why he could care only about linear beauty. (^[7])

Music[link]

La Argentina was the first to use music for Spanish dance of the great contemporary composers such as Isaac Albéniz, de Falla, Granados and Turina. The musical monuments of these four composers demanded broad choral movements that folklore did not possess. Taking as their base the guitar's melodic micro-universe, and influenced by foreign (especially Russian and French) composition styles, they considerably widened their musical palette. She also elicited scores from the young composers of her country such as Halffter, Espla, Duran.

Great artists accompanied her on the piano. In 1926 Joaquin Nin, pianist and composer arranged many popular songs and Amparo Navaro, née Iturbi, sister of José Iturbi. Carmencita Perez played in 1926 and 1929–30; Miguel Berdion in late 1929 and 1930, and in 1931 in New York. Luis Galve was her accompanist from 27 March 1931 until the end.

La Argentina used any music that suited her temperament. The interaction between music and dance, the parallels she found between melodic line and body profile, intermingled. Her inner vigour seemed to produce both music and dance, so much that any gesture became music for the eye.

Castanets[link]

Of using castanets she

As a little girl ( I was three or four perhaps), I used to hear the insistent, percussive sound of the big castanets when my parents gave lessons. The unmusical noise irritated me so much that I would go and hide in the furthest part of the apartment so as not to hear its reverberation. There I would practice my tiny hands on a pair of castanets my father had given me, and more or less unconsciously - one hardly uses reason at that age - I sought to draw sounds from my instrument that did not hurt my ears. Such were my beginnings and I can only say that my liking for castanets came from the disgust that other’s castanets inspired in me".^[8]

Even as a simple accompanist to regional dances, Argentina became an astonishing soloist and the castanets a genuine concert instrument, even going so far as to modifying their design to obtain more satisfying tones. "The public not only liked Argentina's dancing, and her slim, gently curving arms, it also enjoyed her castanet performance. It was a virtuoso display. "The perfection of her interpretation and the faultless manner of expressing the smallest musical nuance drew comparison with the great Toscanini. « Her performance contained such subtleties » André Levinson said, « such a variety of tones that they were almost like a voice, and such an intensity of expression impatience, challenge and triumph - that they not only amounted to a voice but to a language! « As the famous Spanish-Cuban composer, Joaquin Nin, who styled himself as teacher of perfect Bach and whom I used to see for this reason once said, I always refused to be shackled, even if the chain was the customary pearl necklace offered young women after marriage. But I adored the thread of pearls provided by Argentina's castanets, when she would come as my lessons with him were fnishing to rehearse the wonderful dances of her first recitals at number 27, rue Henri-Heine. » Nothing henceforward would be as before. She was imitated. Some tried to equal her. All the great artists of Spain adopted her musical notation for castanets. She gave Spanish dance her own special imprint, which nowadays it would be inconceivable to do without; she showed the way to future castanet performers, and facilitated the instrument's admittance to the orchestra.^[9][10]

Recital format[link]

Argentina was also the first to inaugurate the recital format, performing her own choreography for concerts in which she was alone on stage, accompanied simply by a pianist, occasionally by a guitarist, especially for the flamenco dances. Her guitarist throughout was Salvador Ballesteros, a family friend. She did not succeed all at once. Like everything else in her career (which began very modestly in Madrid, to end up at the Paris Opera), it happened progressively. She first performed dances in variety programmes, then in pieces with orchestral music; later on in dances where less importance was accorded the orchestra. Her first shows in 1925 during a European tour and in the South of France were shared with Joaquin Nin the composer and soloist, the singer Alicita Felici, with Mme Ginesty-Brisson at the piano, or with the opera singer Dolores de Silvera. The same programme took place at the Salle Gaveau, in Paris, on January 10, 1926. It was in Berlin, on October 15, 1926, that she gave her first solo recital with Carmencita Perez as accompanist. At the end of October of the same year, she gave the same performance in Stockholm, then at the Salle Gaveau in Paris. From then on, she retained the same format:

1927: Salle Gaveau, Théâtre Femina 1928: Salle Pleyel 1929: Théâtre des Champs-Elysées 1933: On December 3, first recital at the Paris Opera 1934: Gala at the Opera, and recital at the Opera Comique 1936: Springtime saw her in Cannes where the kings of Sweden and Denmark applauded her; in May she retumed to Paris and, except for her own ballets, always performed alone on stage with ever-increasing triumph around the world. Argentina was also the first artist of such fame to give recitals at inexpensive prices that were within everybody's range, at the old Trocadero which held more than fve thousand seats. The success of these popular shows was sheer madness. She was obliged to renew the experience several times a season as it had become a tradition expected by all Parisians, who jammed the box-offces, the thousands of seats available beind sold out in a single day.

Main creations[link]

1. Concert dances

1912 El Garrotin, based on a popular air. La Corrida, music by Valverde (taken from choreographies created in 1910 for the opérette l’Amour en Espagne Tango Andalou, music by Ballesteros.

1916 Danse des Yeux verts, music specially composed by Granados.

Between 1916 and 1921 :Habanera, music by Pablo de Sarasate. Cordoba, music by Albeniz. Danza V, music by Granados.

1921 Sevilla, music by Albeniz. Serenata, music by Malats. Sérénade Andalouse, music by C. Ruecker.

1925 Danse du Feu, music by Manuel de Falla. Andalouse Sentimentale, music by Turina. Boléro Classique, music by Iradier. Bohémiene, based on a popular air. Seguidilla (without music).

1926 Mexicaine, based on a popular air. Ciel de Cuba, based on a popular air.

1927 Valencia, music by C. Ruecker. Chaconne, music by Albeniz.

1928 Serenata Andaluza, music by Manuel de Falla. Jota Valenciana, music by Granados. Danse Gitane, music by Infante. Lagerterana, music by Guerrero.

1929 la vie brève, music by de Falla. Carinosa, popular music from the Philippines. Jota Aragonesa, music by de Falla.

1930 Goyescas, music by Granados. Danse Ibérienne, music specially composed by Joaquin Nin. Danse de la Meunière, music by de Falla.

1932 Almeria, music by Albeniz. La Romeria de los Cornudos, music by Pittaluga (The Shawl Dance - a dance from Granada). Puerta de Tierra, music by Albeniz. Danse du Meunier, music by de Falla. Légende, music by Albeniz. Charrada, popular music from Salamanca. Malaguena, music by Albeniz. Castilla, music by Albeniz, « Matid 1 800 ». Cuba, music by Albeniz. Alegrias, music by Ballesteros.

1933 Zapataedo, music by Granados. Tientos, music by Infante.

1934 Sacra-Monte, music by Turina. Esquisse Gitane, music by Infante. La Fregona, music by Vives. Suite Argentine, based on a popular air (Condicion-Bailecito - Zamba). Suite Andalouse, based on popular airs (Sevillanas-Peteneras - Bulerias).

1936 1935 Fandango, music by Turina. Polo Gitano, music by Breton. La Firmeza, based on Argentinian popular music, becoming the last dance in the Suite Argentine.

2. Ballets

1925 L’Amour Sorcier, music by Manuel de Falla.

1927 El Fandango de Candi, music by Duran. Argentina successively expressed feminine shrewdness, thwarted love, tenderness, wearing a pink costume with cubist flounces cut into scallops.

1927 Au coeur de Seville, cuadro flamenco based on a popular air.

1928 Sonatine, music by Ernesto Halffter. This ballet, a mixture of Old France and Castilla, made Spanish courtly dancing come to life again. With delightful touch, Argentina introduces a shepherdess on stage, gliding and pirouetting imperceptibly.

1928 Le Contrebandier, music by Oscar Espla, where the future Empress Eugénie meets Prosper Mérimée and where the countess of Teba saves a smuggler who is pursued by two opérette gendarmes.

1928 Juerga, music by Julien Bautista. Scenes of popular life in Madrid around 1 885 : returning from a popular festival, young people from good families in search of pleasure mingle with common folk, and give themselves to unrestrained jollity : turmoil, dancing, and colourful to-ing and fro-ing.

1929 Triana, music by Albeniz. Lovers' tiffs during the Corpus Christi in Sevilla.

Notes[link]

Further reading[link]

• Suzanne F. Cordelier: La vie brève de la Argentina. Paris 1936
• Monique Paravicini (ed.): Argentina. Gilberte Cournand, Paris 1956
• Argentina. Bienal de Arte Flamenco (V el Baile). Sevilla 1988
• Ministerio de Cultura (ed.): Homenaje en su Centenario 1890-1990 Antonia Mercé 'La Argentina'. Madrid 1990
• Suzanne de Soye: Toi qui dansais, (you danced and danced) Argentina. Paris 1993
• Carlos Manso: La Argentina, fue Antonia Mercé. Buenos Aires 1993
• Ria Schneider (ed.): Argentina. Antonia Mercé. Kastagnettenstücke, entstanden 1912-1936. IGkK, Köln 1993
• Brygida M. Ochaim, Claudia Balk: Varieté-Tänzerinnen um 1900. Vom Sinnenrausch zur Tanzmoderne, Ausstellung des Deutschen Theatermuseums München 23.10.1998–17.1.1999., Stroemfeld, Frankfurt/M. 1998, ISBN 3-87877-745-0

External links[link]

• La Argentina's biography
• Short Biography
• Tarot & Dance: The Dancing Queens, Antonia Merce, La Argentina, Queen of Coins(c) Cheryl Lynne Bradley 2003] at TarotCanada.tripod.com La Argentina
• Legado de Antonia Mercé La Argentina en la Fundación Juan March(Spanish).
• Archive of Antonia Mercé La Argentina, Fundación Juan March-Madrid(English).

Arturo Vidal

Personal information
Full name	Arturo Erasmo Vidal Pardo
Date of birth	(1987-05-22) 22 May 1987 (age 25)
Place of birth	Santiago, Chile
Height	1.81 m (5 ft 11 1⁄2 in)
Playing position	Midfielder
Club information
Current club	Juventus
Number	22
Youth career
	Melipilla
	Colo-Colo
Senior career*
Years	Team	Apps†	(Gls)†
2005–2007	Colo-Colo	36	(2)
2007–2011	Bayer Leverkusen	117	(15)
2011–	Juventus	33	(7)
National team‡
2007	Chile U-20	13	(8)
2007–	Chile	37	(3)
* Senior club appearances and goals counted for the domestic league only and correct as of 20 May 2012. † Appearances (Goals). ‡ National team caps and goals correct as of 5 January 2012

Arturo Erasmo Vidal Pardo (born 22 May 1987) is a Chilean footballer who plays as defensive midfielder for Juventus and Chile. Although usually deployed as a defensive midfielder, Vidal is a versatile box-to-box midfielder capable of playing in a more attacking role as well.^[1]

Early life[link]

Vidal was born in San Joaquín, a working class commune in the capital Santiago, the second of six children.^[2] His potential was discovered by his uncle and he later joined the youth squads of local Primera División giants Colo-Colo.^[3][1]

Club career[link]

Colo-Colo[link]

Vidal's professional debut came in the first leg of the 2006 Apertura Tournament final. The match was between Colo-Colo and arch rivals Universidad de Chile. Vidal came on as a late substitute for Gonzalo Fierro. Colo-Colo would go on to win the game 2–1 and win the championship as well. In the following season (2006 Clausura Tournament) he became a more important part of the squad and would lead Colo-Colo to their second championship win in a row. Vidal scored three goals in Colo-Colo's Copa Sudamericana 2006 campaign. His good showing caught the eye of scouts from various European clubs.

Bayer Leverkusen[link]

The 2007 Apertura Tournament was Vidal's last with Colo-Colo as he left for Bayer Leverkusen in the summer. Bayer had tracked his progress for some time and his good showing at the U-20 World Cup that year convinced Bayer's Director of Football Rudi Völler to make the trip all the way to Chile in order to convince the twenty-year-old to sign.^[4] The two clubs then agreed on a fee of $11 million with Bayer Leverkusen paying $7.7 million for 70% ownership of his contract. His transfer broke the previous record of Matías Fernández's $9 million transfer to Villarreal.^[5]

Vidal missed the first game of the season through injury but was soon thrust into the starting line-up and made his debut on 19 August 2007 in the away loss against Hamburg. He started in half the season's games and scored his first goal for the club just three games into his Bayer career. He was ever present for the 2008–09 season and played a vital role in Bayer's run to the German Cup final. On 8 March, he suffered a concussion during the game against VfL Bochum and was out for a month. Upon his return, he scored a goal to break the deadlock in the 4–1 semifinal win over Mainz in the German Cup but Bayer eventually lost to Werder Bremen in the final.

The 2010-11 season would be Vidal's last with Bayer. He helped the club to a runner-up finish in the Bundesliga and topped the assist charts for his club with 11 assists, which was joint second in the league.^[6] He also contributed 2 goals in their run to the Round of 16 of the Europa League.

Juventus[link]

After a good 2010–11 season, Vidal was linked with various clubs, including Bayer's Bundesliga rivals Bayern Munich. On 22 July 2011, he joined Serie A club Juventus for €12.5 million on a five-year contract.^[7][8] He made his competitive debut in the opening league game of the season against Parma, coming on as a second-half substitute for Alessandro Del Piero; he marked his first appearance with a goal six minutes after his introduction in Juventus' 4–1 win.^[9] He has since become an integral part of Antonio Conte's midfield alongside Italy internationals Andrea Pirlo and Claudio Marchisio. He was part of the side that won the 2011–12 Serie A without losing a single game, and contributed seven league goals, his second highest personal tally after the ten goals with Leverkusen in 2010–11. Those seven strikes included a few in very important games versus rivals Napoli and A.S. Roma, against whom he bagged a brace.

International career[link]

Arturo Vidal with Brazil's Kaká, in the 2010 FIFA World Cup

Vidal represented Chile at the Under-20 level at the 2007 South American Youth Championship in Paraguay where he was the tournament's second top scorer with six goals. During the tournament he played central midfield and helped the team to qualify for the 2007 FIFA U-20 World Cup where Chile finished in third place with Vidal scoring two goals in the tournament, including the match winner against Portugal in the Round of 16.^[10] Vidal made his senior debut in a friendly against Venezuela where Chile won 1–0. He became a regular under Marcelo Bielsa when fit during 2010 World Cup qualifying, playing in 11 matches and scoring a goal.^[11] He was then named in the final 23-man squad for the tournament.

International goals[link]

Goal	Date	Venue	Opponent	Score	Result	Competition
1.	5 September 2009	Monumental David Arellano, Santiago, Chile	Venezuela	1–0	2–2	2010 WCQ
2.	17 November 2010	Monumental David Arellano, Santiago, Chile	Uruguay	2–0	2–0	Friendly
3.	4 July 2011	Estadio del Bicentenario, San Juan, Argentina	Mexico	2–1	2–1	2011 Copa América

Honours[link]

Career statistics[link]

As of 23 April 2012

References[link]

External links[link]

• Arturo Vidal at fussballdaten.de (German)
• Profile on juventus.com
• ESPN Profile

v t e Chile squad – 2010 FIFA World Cup 1 Bravo (c) 2 Fuentes 3 Ponce 4 Isla 5 Contreras 6 Carmona 7 Sánchez 8 Vidal 9 Suazo 10 Valdívia 11 González 12 Pinto 13 Estrada 14 Fernández 15 Beausejour 16 Orellana 17 Medel 18 Jara 19 Fierro 20 Millar 21 Tello 22 Paredes 23 Marín Coach: Bielsa

v t e Chile squad – 2011 Copa América 1 Bravo (c) 2 Silva 3 Ponce 4 Isla 5 Contreras 6 Carmona 7 Sánchez 8 Vidal 9 Suazo 10 Valdívia 11 Jiménez 12 Pinto 13 Estrada 14 Fernández 15 Beausejour 16 Fierro 17 Medel 18 Jara 19 Muñoz 20 Millar 21 Gutiérrez 22 Paredes 23 Garcés Coach: Borghi

This Awards and achievements succession box's factual accuracy may be compromised due to out-of-date information. Please help improve the article by updating it. There may be additional information on the talk page. (April 2012)

Miley Cyrus
Cyrus at the 2012 People's Choice Awards
Background information
Birth name	Destiny Hope Cyrus
Born	(1992-11-23) November 23, 1992 (age 19) Nashville, Tennessee, U.S.[1]
Genres	Pop,[2] country pop, dance, electropop, teen pop
Occupations	Actress, musician
Instruments	Vocals, guitar, piano
Years active	2001–present
Labels	Walt Disney, Hollywood
Associated acts	Hannah Montana, Billy Ray Cyrus, Demi Lovato
Website	MileyCyrus.com Signature of Miley Cyrus.

Miley Ray Cyrus (born Destiny Hope Cyrus; November 23, 1992) is an American actress and pop singer-songwriter. She achieved wide fame for her role as Miley Stewart/Hannah Montana on the Disney Channel sitcom Hannah Montana.

Cyrus recorded music for the soundtracks, Hannah Montana (2006) and Hannah Montana 2/Meet Miley Cyrus (2007), released by Walt Disney Records. With the success of the Hannah Montana franchise she established herself as a teen idol. In 2007, Cyrus signed to Hollywood Records to pursue a solo career. She embarked upon the Best of Both Worlds Tour the same year, in which she performed as both herself and in character as Hannah Montana. The tour was eventually turned into a high-grossing concert film titled Hannah Montana & Miley Cyrus: Best of Both Worlds Concert (2008). In July 2008, Cyrus released her first solo album, Breakout (2008), which was commercially successful.

She began her foray into film by providing the voice of "Penny" in the animated film Bolt (2008). Cyrus earned a nomination for the Golden Globe Award for Best Original Song for her performance of Bolt's theme song, "I Thought I Lost You". She also reprised her role as Miley Stewart/Hannah Montana in Hannah Montana: The Movie (2009). The Hannah Montana: The Movie' soundtrack introduced her to new audiences within country and adult contemporary markets.

She began to cultivate an adult image in 2009 with the release of The Time of Our Lives (2009), an extended play which presented a more mainstream pop sound, and by filming The Last Song (2010), a coming-of-age drama film. The former included Cyrus's best-selling single, "Party in the U.S.A." (2009). A studio album titled Can't Be Tamed was released in 2010 and presents a new dance-pop sound. The music video and lyrics of the album's lead single, "Can't Be Tamed", portrays a more sexualized image for the entertainer. Cyrus ranked number thirteen on Forbes' 2010 Celebrity 100.^[3] For the 2011 Guinness World Records, she was named the “Most Charted Teenager” following her 29th US Billboard Hot 100 chart entry on November 7, 2009 with “Party in the USA”.^[4]

Early life[link]

Cyrus at the 2010 Academy Awards.

Cyrus was born on November 23, 1992, in Nashville, Tennessee, to Letitia Jean "Tish"^[5] (née Finley) and country singer Billy Ray Cyrus.^[6][7] Her parents named her Destiny Hope because they believed that she would accomplish great things with her life. They gave her the nickname "Smiley", which was later shortened to "Miley", because she smiled so often as a baby.^[8] Cyrus suffers from a mild heart condition causing tachycardia which, though not dangerous, is often bothersome.^[9]

Against the wishes of her father's record company,^[10] Cyrus's parents secretly married a year after Cyrus's birth on December 28, 1993.^[7][11] Tish had two children from a previous relationship: Trace and Brandi. Billy Ray adopted Trace and Brandi when they were young.^[12] She has a half-brother, Christopher Cody, Billy Ray's son from a brief relationship, born the same year as Miley; he grew up with his mother in South Carolina.^[10] Tish and Billy Ray had two more children, Braison and Noah. Cyrus's godmother is entertainer Dolly Parton.^[13] Cyrus was very close to her paternal grandfather, Democratic politician Ronald Ray Cyrus.^[14] Cyrus has paid her grandfather several tributes since his death in 2006, including eventually changing her middle name to "Ray".^[15] According to Cyrus's father, "A lot of people say Miley changed her name to Miley Ray because of Billy Ray, but that's not true. She did that in honor of my dad, because the two of them just loved each other to pieces."^[9]

Cyrus grew up on a 500-acre (2.0 km²) farm in Franklin, Tennessee, a suburb of Nashville,^[16] and attended Heritage Elementary School.^[17] She was raised Christian and was baptized in a Southern Baptist church prior to moving to Hollywood in 2005. She attended church regularly while growing up and wore a purity ring.^[18] Several of Cyrus's siblings also eventually entered the entertainment business: Trace became a vocalist and guitarist for the electronic pop band Metro Station,^[19] Noah became an actress, and Brandi became a guitarist.^[20]

Career[link]

2001–05: Career beginnings[link]

In 2001, when Cyrus was eight, she and her family moved to Toronto, Canada while her father filmed the television series Doc.^[21] Cyrus said watching her father film the show inspired her to pursue acting. After Billy Ray took her to see a 2001 Mirvish production of Mamma Mia! at the Royal Alexandra Theatre, Cyrus grabbed his arm and told him, "This is what I want to do, daddy. I want to be an actress."^[22] She began taking singing and acting classes at the Armstrong Acting Studio in Toronto.^[23] In her first role, Cyrus played a girl named Kylie on Doc.^[8] In 2003, Cyrus was credited under her birth name for her role as "Young Ruthie" in Tim Burton's Big Fish.^[24]

At age 11, Cyrus learned about the casting for what became Hannah Montana, a Disney Channel children's television series about a school girl with a secret double life as a teen pop star. Cyrus sent in a tape auditioning for the show's best friend role, but received a call asking her to audition for the lead, "Chloe Stewart".^[1] After sending in a new tape and flying to Hollywood for further auditions,^[25] Cyrus was told that she was too young and too small for the part.^[25][26] However, her persistence and ability to sing in addition to act led the show's producers to invite her back for further auditions. Cyrus eventually received the lead, renamed "Miley Stewart" after herself, at the age of twelve.^[25] During this time, she also auditioned with Taylor Lautner for the feature film The Adventures of Sharkboy and Lavagirl in 3-D and it came down to her and another actress, but Cyrus started doing Hannah Montana instead.^[27]

As Cyrus's career took off, Tish Cyrus made several critical decisions regarding her daughter's representation. She signed Cyrus with Mitchell Gossett, director of the youth division at Cunningham Escott Slevin Doherty. Gossett, who specializes in creating child stars, had arranged for Cyrus's auditions for Hannah Montana and is credited with "discovering" her.^[28][29] For Cyrus's music career, Tish followed the advice of Dolly Parton, Cyrus's godmother and a singer herself, and signed Cyrus with Jason Morey of Morey Management Group. "Dolly said the Moreys are people you can trust around your daughter," Tish Cyrus recalls, "and she said they have good morals, which is not always the case in this business."^[30] According to trade magazine The Hollywood Reporter, Parton's advice was "the best advice [Tish] could [have gotten] on who should rep her daughter."^[30] Tish also recruited Billy Ray's business manager to manage her daughter's finances. Tish herself continues to co-manage or produce many of Cyrus's career decisions.^[30] For her education, Cyrus enrolled at Options for Youth Charter Schools^[31] and studied with a private tutor on the set of her television show.^[32]

[edit] 2006–07: Hannah Montana and Hannah Montana 2: Meet Miley Cyrus

Cyrus performing on the Best of Both Worlds Tour

Hannah Montana became an instant hit and propelled Cyrus to teen idol status, according to The Daily Telegraph.^[24] The series premiered on March 26, 2006, to the largest audience ever for a Disney Channel show^[33] and soon became one of the highest-rated series on basic cable, elevating Cyrus's wealth and fame along with it.^[34] Time magazine reports that Cyrus's "phenom[enal]" success is due partially to her talent and partially to "Disney learning to use its vast, multimedia holdings" and market Cyrus and Hannah Montana appropriately.^[35] Cyrus eventually became the first artist to have deals in television, film, consumer products, and music within The Walt Disney Company.^[28]

The first single was "The Best of Both Worlds", the theme song to Hannah Montana, which was released on March 28, 2006.^[36] "The Best of Both Worlds" is credited to "Hannah Montana", the pop star Cyrus portrays on the series by the same name. As with other songs credited to Montana, Cyrus typically dressed as the character when performing the song live.^[37] Cyrus's first release under her own name was a cover of James Baskett's "Zip-a-Dee-Doo-Dah", released on April 4, 2006, on the fourth edition of DisneyMania.^[38] Dressed as Hannah Montana, Cyrus opened for The Cheetah Girls on twenty dates of their The Party's Just Begun Tour, beginning on September 15, 2006.^[39] On October 24 of same year, Walt Disney Records released the first Hannah Montana soundtrack. Of the nine tracks on the soundtrack performed by Cyrus, eight were credited to "Hannah Montana" and one, a duet with her father titled "I Learned from You", was credited to Cyrus as herself. The album peaked at number one on the U.S. Billboard 200 chart.^[40]

Cyrus and her father, Billy Ray, performing "Ready, Set, Don't Go" at the Kids' Inaugural: "We Are the Future." – January 19, 2009; Washington D.C.

The second season of Hannah Montana premiered on April 23, 2007, and ran until October 12, 2008.^[41] Cyrus signed a four-album deal with Disney-owned Hollywood Records and, on June 26, 2007, released a double-disc album. The first disc was the soundtrack to the second season of Hannah Montana, while the second, titled Meet Miley Cyrus, was Cyrus's debut album credited to her own name. The double-disc album peaked at number one on the Billboard 200^[42] and was later certified three times platinum by the Recording Industry Association of America (RIAA).^[43] Meet Miley Cyrus generated "See You Again", Cyrus's first single to be released under her own name and her first top ten hit on the Billboard Hot 100.^[44] In fall 2007, Cyrus launched her first tour, the Best of Both Worlds Tour, to promote Meet Miley Cyrus and the Hannah Montana soundtracks. With the Jonas Brothers, Aly & AJ, and Everlife as her opening acts, Cyrus toured from October 17, 2007, to January 31, 2008, with stops in the U.S. and Canada.^[45] Tickets sold out in minutes and were scalped for up to $2,500 and an average of $214, well above their $26–$65 face value.^[46] A Ticketmaster official commented, "Hell hath no fury like the parent of a child throwing a tantrum. People who have been in this business for a long time are watching what's happening, and they say there hasn't been a demand of this level or intensity since The Beatles or Elvis."^[47]

[edit] 2008–09: Breakout, transitions and film career launch

Cyrus at 2008 MTV Video Music Awards

After the end of the Best of Both Worlds Tour in January 2008, Walt Disney Pictures released Hannah Montana & Miley Cyrus: Best of Both Worlds Concert, a 3D concert film of the tour, on February 1, 2008, for what was expected to be a one-week run. The film earned over $31 million^[48] at the box-office and an average of $42,000 per theater, twice the expected total, convincing Disney executives to extend the release for an indefinite run. "We don't want to turn away kids from the theaters who couldn't get into the concerts," said Chuck Viane, Disney's chief of distribution.^[49] The film's soundtrack was released by Walt Disney Records/Hollywood Records on March 11, 2008, and peaked at number three on the Billboard 200.^[50]

On July 22, 2008, Cyrus released her second studio album under her own name, titled Breakout. Cyrus said Breakout was inspired by "what's been going on in my life in the past year."^[51] Cyrus co-wrote eight out of twelve songs on the album.^[51] "Songwriting is what I really want to do with my life forever, [...] I just hope this record showcases that, more than anything, I'm a writer."^[52] The album debuted at #1 on the U.S. Billboard 200 chart^[53] and its lead single, "7 Things", peaked at number 9 on the Billboard Hot 100.^[54][55] She hosted the 2008 CMT Music Awards with her father in April^[56] and the 2008 Teen Choice Awards by herself in August.^[57] Cyrus provided the voice of Penny in the 2008 computer-animated film Bolt, which was released on November 21, 2008, to critical acclaim.^[58] Cyrus also co-wrote and recorded the song "I Thought I Lost You" as a duet with John Travolta for the film, for which she received a Golden Globe nomination.^[59] In September 2009, she participated in the charity single "Just Stand Up!" in support of the anti-cancer campaign Stand Up to Cancer^[60] and in the City of Hope Benefit Concert in support of cancer research and training programs.^[61] She also became involved in Disney's Friends for Change, an environmentalist group, for which she recorded the charity single "Send It On" along with several other Disney Channel stars.^[62]

Cyrus performing on the Wonder World Tour

Cyrus had already begun transitioning to a more grown-up image in late 2008, when her representatives negotiated a deal for novelist Nicholas Sparks to write the screenplay and novel basis for a film that would serve as a star vehicle for Cyrus by introducing her to audiences older than the young fans she had gained through Hannah Montana.^[63] Sparks and co-writer Jeff Van Wie developed The Last Song.^[63] It was important to Cyrus that she not be type cast as a singer: "I didn't want to be a singer in another film. I don't want to do that anymore. You have no idea how many musicals show up on my door. I want to do something a little more serious."^[64] In March 2009, Cyrus published Miles to Go, a memoir co-written by Hilary Liftin chronicling her life through age sixteen.^[65] Cyrus starred as Miley Stewart/Hannah Montana in Hannah Montana: The Movie, released April 10, 2009. Both the film and its soundtrack, which contained twelve songs performed by Cyrus,^[66] achieved commercial success.^[67][68] The soundtrack's lead single, "The Climb", became a Top 40 hit in twelve countries^[69] and introduced Cyrus to listeners outside her typical teen pop audience.^[70] Cyrus had considered ending Hannah Montana after its third season, which finished production on June 5, 2009,^[71] but Disney retained and exercised its option for a fourth season.^[72]

Production on The Last Song lasted from June 15, 2009, to August 18, 2009.^[73] In between, Cyrus launched the third Hannah Montana soundtrack, recorded the extended play The Time of Our Lives (EP), and released the EP's lead single, "Party in the U.S.A."^[74] Cyrus said The Time of Our Lives "is a transitioning album. [...] really to introduce people to what I want my next record to sound like and with time I will be able to do that a little more."^[75] "Party in the U.S.A." debuted at number two on the Billboard Hot 100 for her best-ever ranking on the chart.^[76] The Time of Our Lives was released in conjunction with a clothing line co-designed by Cyrus and Max Azria for Walmart.^[77]

From September 14, 2009, to December 29, 2010, Cyrus toured on her Wonder World Tour to promote Breakout and The Time of Our Lives.^{[citation needed]} On December 7, 2009, Cyrus performed for Queen Elizabeth II and numerous other members of the British Royal Family at the Royal Variety Performance in Blackpool, North West England.^[78]

[edit] 2010–2011: Can't Be Tamed, focus on film career, and Gypsy Heart Tour

Cyrus at 2010 MuchMusic Video Awards soundcheck.

Production on the fourth and final season of Hannah Montana began on January 18, 2010.^[79] In the aftermath of the 2010 Haiti earthquake, Cyrus appeared on the charity singles "We Are the World: 25 for Haiti" and "Everybody Hurts".^[80][81] Her third studio album, Can't Be Tamed, was released on June 21, 2010. The album's first single is the title track, "Can't Be Tamed". The single was released for sale on May 18, 2010, and entered the Billboard Hot 100 at number eight.^[82] Cyrus's costumes and dances while promoting Can't Be Tamed were also considerably more provocative than previous performances, arousing media criticism.^[83] After releasing the album, Cyrus intends to take a break from the music industry in order to focus on her film career.^[84] She commented, "I've not taken, like, acting lessons or anything, but it doesn't mean I don't need to because I'm sure I do [...] I'm probably going to go book an acting coach."^[85] Cyrus has also decided to opt out of college for the same reason, saying "I'm a firm believer that you can go back at any age you want, because my Grandma went back to college at 62 [...] For right now, I really want to focus on my career. I've worked hard to get to where I am now, and I want to enjoy it while it lasts."^[86][87][88]

Cyrus starred in The Last Song, which was released on March 31, 2010, and received generally poor reviews, as did Cyrus's performance.^[89] Nonetheless, the film was commercially successful, grossing more than $88 million at the worldwide box office.^[90] According to box-office analyst Exhibitor Relations, the film marked "a successful transition to adult roles for Miley Cyrus."^[91] The fourth and final season of Hannah Montana began airing on Disney Channel on July 11, 2010, and was ended on January 16, 2011.^[92] Cyrus filmed two more films, LOL: Laughing Out Loud and So Undercover in 2010. In LOL, a remake of a 2008 French teen film of the same name, Cyrus plays "a daughter who is involved with all the wrong kids, doing drugs, failing school, but [...whose] mother has her on this perfect pedestal" and says "[She] just fell in love with the story."^[93] Cyrus' character loses her virginity, smokes cannabis, gets wasted and kisses two girlfriends on the lips.^[94] She will also star in So Undercover, an action comedy film. Cyrus will play the part of "a tough, street-smart private eye hired by the FBI to go undercover in a college sorority."^[95] She learned street fighting for the role.^[95]

Despite her earlier announcement that she'd be focusing more on acting in the future, in February 2011, Cyrus confirmed she had no films lineup and was going to go on tour.^[96] On April 29, 2011, Cyrus embarked on her international Gypsy Heart Tour in South America and ended the tour on July 2, 2011, in Australia. Cyrus hosted Saturday Night Live on March 5, 2011, where she performed in several sketches. She also sang a brief song about her several controversies, such as the bong incident, the photo of her friend and she eating a Twizzler, and the "pole dance" on a hotel pole at the Teen Choice Awards, stating "I'm sorry that I'm not perfect."^[97][98] In March 2011, father Billy Ray Cyrus confirmed on talk show, The View, that Cyrus had been in talks with producer Dr. Luke on a new album.^[99] In July 2011, it was announced that she would record her fourth studio album and she has no plans to sign onto any other film projects.^[100] However, it was reported on August 2, 2011, by Contact Music that Cyrus has signed on to star in a comedy in which she plays a woman who broke a promise to God.^[101]

Cyrus released on YouTube a remix of her song "Liberty Walk" in November 2011, dedicated to the Occupy movement, which she referred to as, "the thousands of people who are standing up for what they believe in."^[102]

[edit] 2012–present: LOL, So Undercover, and focus on music career

LOL came out on May 4th

In January 2012, it was announced that Cyrus would be on Punk'd. Cyrus would be on the show alongside friend and co-star in her new film So Undercover, Kelly Osbourne. Cyrus and Osbourne on an episode of the show would punk reality star and TV personality Khloé Kardashian Odom. They punk Khloe by having a young food delivery man pretends to get his family jewels caught in his zipper while using Miley's bathroom.^[103][104]

On January 24, the album Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International was released in honor of Bob Dylan, Cyrus covered Dylan's song "You're Gonna Make Me Lonesome When You Go" from his 15th studio album Blood on the Tracks, in which she also made a music video.^[105] Cyrus's version of the song earned positive reviews from music critics.^{[106][107][108]}

In February, Cyrus dropped out of the animated comedy Hotel Transylvania, in which she was meant to play the role of Mavis, the daughter of Dracula who is voiced by Adam Sandler, the movie also stars Andy Samberg, Kevin James, Fran Drescher, and David Spade.^[109] It was later announced that she will be replaced by fellow Disney star and friend Selena Gomez.^[110] She later announced that she dropped out of the film because she wanted to work on her music this year.^[111][112]

Earnings[link]

In 2008, Cyrus earned $25 million, up from her earnings of $18 million in 2007, and was ranked number 35 on Forbes magazine's "Celebrity 100" list.^[113] Parade magazine reported she was the richest teenage celebrity and that her franchise would be worth approximately $1 billion by the end of the year.^[114] In 2009, Forbes ranked her #29 on the Celebrity 100 and reported she had earned a total of $25 million.^[115] Then Cyrus got ranked number thirteen on Forbes' 2010 Celebrity 100 ranking $48 million.^[3] From the $48 million she made between June 2009 to June 2010 made her the no. 4 highest earners under 30 and the youngest on the list.^[116] between June 2010 and June 2011, Cyrus earned $54 million.^[117]

From working on Hannah Montana, Cyrus got paid $15,000 per episode she did on the hit show, making her the 6th highest paid child star on television behind fellow Disney stars Dylan and Cole Sprouse and Keke Palmer with $20,000 for their shows. Also, she is behind friend and Disney star Selena Gomez that makes $25,000 per episode of her show, Nick star Miranda Cosgrove with $180,000 per episode of her show, and one time co-star Angus T. Jones that got paid $250,000 for each episode of his show.^[118] Though she had not got paid as much as other Disney stars,when she was 17 she was named #19 on the "Top 20 World's Richest Female Singers Of All Time" list with over $100 million in 5 years active throughout her career, which made her the youngest female artist on the list.^[119] In 2011, she was named #1 on the "Top 10 Richest Teens in Hollywood" with $120 million.^[120]

Personal life and image[link]

Cyrus on the Red Carpet at VH1 Divas 2009

A Christian, she was baptized in a Southern Baptist church in 2005.^[121]

In February 2008, Cyrus and her friend Mandy Jiroux opened a YouTube account and began posting videos of what they called The Miley and Mandy Show. The show, described as a "YouTube hit," is said to be filmed for fun by Cyrus and Jiroux and to be entirely their work, with Cyrus and Jiroux editing the footage together.^[122]

With Cyrus's increased success came increased media attention. In a May 2008 interview with The Los Angeles Times, Francois Navarre, the proprietor of the X17 photo agency, said Cyrus's market value had picked up considerably after the Vanity Fair photo controversy: "She's started to sell more. [...] It used to be $300, and now it's $2,000 for a picture."^[123] Estimates for a picture of the then-15 year old's first kiss ranged from $30,000 to $150,000.^[123] Navarre noted that Cyrus rarely behaved against her wholesome image or went out without a parent and stated, "She has people waiting for the moment she starts to be less traditional. [...] It's natural. Any teenager. But it's going to come very fast. [...] As soon as her mom lets her go out by herself. It's going to start to be interesting."^[123] Time magazine included her on the 2008 Time 100, the magazine's list of the 100 most influential people in the world. Her write-up was written by former child star Donny Osmond, who warned, "As an idol to tweens the world over, singer-actress Miley Cyrus, 15, is riding a huge tidal wave at the pinnacle of her career; this is as it should be. I hope she enjoys it. [...] Within three to five years, Miley will have to face adulthood. [...] As she does, she'll want to change her image, and that change will be met with adversity."^[124]

Cyrus celebrated her 16th birthday at Disneyland with a charity fundraiser for Youth Service America, a youth volunteer service organization.^{[125][126][127]}

In June 2009, Cyrus ended her nine-month relationship with model Justin Gaston shortly before flying to Georgia to film The Last Song.^[128] While filming later that month, Cyrus began dating her co-star in The Last Song, Australian actor Liam Hemsworth.^[129] She later called him her "first serious boyfriend".^[130] In August 2010, it was confirmed that her relationship with Hemsworth had ended.^[131][132] Cyrus and Hemsworth were seen together a month later, and were reportedly back together.^[133] It was announced in early November that the couple had split again.^[134] They have since rekindled their relationship.^[135]

At the end of 2009, Billboard magazine ranked Cyrus the fourth best-selling female artist^[136] and the fifth best-selling singer overall.^[137] Also in 2009, at the age of sixteen, she became the youngest artist to have four number one albums on the charts.^[138]

Controversies[link]

Cyrus performing at the Kids Inaugural: We Are the Future concert in 2009.

In December 2007, a brief controversy emerged when photos Cyrus had posted on her private MySpace account, depicting her and a female friend sharing a piece of licorice and "almost kissing", were spread across the internet, prompting rumors of lesbianism. Cyrus comments, "For me, I was like, That's two girls—it's not a big deal. But they got spread around. Like someone copied and pasted and said, Omigod, look at this, and blah blah blah."^[139]

In April 2008, several provocative images of Cyrus in her underwear and swimsuit were leaked onto the web by a teenager who hacked Cyrus's Gmail account.^{[140][141][142][143]} Cyrus described the images as "silly, inappropriate shots" and stated, "I am going to make mistakes and I am not perfect. I never intended for any of this to happen and I am truly sorry if I have disappointed anyone."^[144][145] On April 25, 2008, the televised entertainment program Entertainment Tonight reported that Cyrus, then 15, had posed topless for a photoshoot taken by photographer Annie Leibovitz for Vanity Fair.^[146] On April 29, 2008, The New York Times clarified that though the pictures left an impression that she was bare-breasted, Cyrus was wrapped in a bedsheet and was actually not topless.^[147] Some parents expressed outrage at the nature of the photograph, which a Disney spokesperson described as "a situation [that] was created to deliberately manipulate a 15-year-old in order to sell magazines." Gary Marsh, president of entertainment for Disney Channel Worldwide, was quoted by Portfolio magazine to have said, "For Miley Cyrus to be a 'good girl' is now a business decision for her. Parents have invested in her a godliness. If she violates that trust, she won't get it back."^[147] In response to the Internet circulation of the photo and ensuing media attention, Cyrus released a statement of apology on April 27, 2008: "I took part in a photo shoot that was supposed to be 'artistic' and now, seeing the photographs and reading the story, I feel so embarrassed. I never intended for any of this to happen and I apologize to my fans who I care so deeply about."^[147] Leibovitz also released a statement: "I'm sorry that my portrait of Miley has been misinterpreted. The photograph is a simple, classic portrait, shot with very little makeup, and I think it is very beautiful."^[147][148]

In May 2008, Gossett, Cyrus's longtime acting agent, left Cunningham Escott Slevin Doherty for United Talent Agency, partially with the hope of "giving Cyrus the major-agency backing that would support a widening career", according to The Hollywood Reporter.^[30][149] About a year later in June 2009, Cyrus left both Gossett and UTA, which had recently negotiated her deals for The Last Song and the fourth season of Hannah Montana, and joined the Creative Artists Agency, which had already represented her for music.^[150] Nikki Finke, who broke the news, reported, "Is this fair to UTA? Of course not. But I hear the decision was made by Miley's mother Trish [sic] Cyrus".^[151]

Cyrus performing during the Wonder World Tour, in 2009.

Cyrus's performance of "Party in the U.S.A." at the 2009 Teen Choice Awards incited a media uproar, with some viewers criticizing Cyrus's provocative outfit and inclusion of a brief pole dance as inappropriate for her age, then sixteen, and for her young fans.^[152][153] Conversely, Newsday reported that her sexualization "has been coming for some time."^[154] Ian Drew, senior editor of US Weekly, said, "She already has this risque image, so it really wasn't much of a stretch. That's how Britney [Spears] took off. She was the good girl gone bad, and it looks to be working for Miley as well."^[154] Cyrus was also criticized that year for dating Gaston, five years her senior,^[155] and for a photo displaying Cyrus and friends making "slant-eyed" expressions, which the Organization of Chinese Americans claimed was offensive to the Asian community.^[156] Cyrus apologized for the photo on her website, defending her actions and saying, "In NO way was I making fun of any ethnicity! I was simply making a goofy face."^[157]

Later in 2010, TMZ released a video of Cyrus, then 16, giving Adam Shankman, producer of The Last Song, a lap dance at the film's wrap party.^{[158][159][160]} Cyrus's father defended her actions, saying Miley was just "having fun" and that "it's what people her age do".^[161] Later that year in December, TMZ released a video of Cyrus, which took place five days after her 18th birthday at her Los Angeles home, in which she is seen smoking from a bong. She claimed she was smoking the psychoactive plant salvia divinorum, although this has not been confirmed by anybody but Cyrus herself.^{[162][163][164]} Salvia is legal in the state of California, and Cyrus was of legal age at the time the video was shot.^[165] Cyrus's father expressed his sadness regarding the matter on Twitter, saying, "Sorry guys. I had no idea. Just saw this stuff for the first time myself. I'm so sad. There is much beyond my control right now".^[166][167]

In a video obtained by The Daily, taking place at Cyrus' 19th birthday party at the Roosevelt Hotel in Los Angeles, Cyrus went to the microphone and addressed the crowd. Immediately after her Bob Marley-themed birthday cake had been brought out, Cyrus said, "You know you're a stoner when your friends make you a Bob Marley cake. You know you smoke way too much f****n' weed."^[168] One week later, Cyrus' representative stated that Cyrus was just being a "smart-ass" and that the Bob Marley cake had just been an "inside joke" with Cyrus and her friends, as Cyrus' friend, Kelly Osbourne had been calling her "Bob Miley" since Cyrus' 2010 salvia incident.^[169]

Filmography[link]

Discography[link]

Studio albums[link]

• Meet Miley Cyrus (2007)
• Breakout (2008)
• Can't Be Tamed (2010)

Extended plays[link]

• The Time of Our Lives (2009)
• iTunes Live from London (2009)

Live albums[link]

• Best of Both Worlds Concert (2008)

Soundtracks[link]

• Hannah Montana (2006)
• Hannah Montana 2 (2007)
• Hannah Montana: The Movie (2009)
• Hannah Montana 3 (2009)
• Hannah Montana Forever (2010)

Tours[link]

• Best of Both Worlds Tour (2007–08)
• Wonder World Tour (2009)
• Gypsy Heart Tour (2011)

Awards and nominations[link]

See also[link]

	Book: Miley Cyrus
Wikipedia books are collections of articles that can be downloaded or ordered in print.

References[link]