1 (one; or ) is a number, a numeral, and the name of the glyph representing that number. It represents a single entity, the unit of counting or measurement. For example, a line segment of "unit length" is a line segment of length 1.

As a number[link]

One, sometimes referred to as unity, is the integer before two and after zero. One is the first non-zero number in the natural numbers as well as the first odd number in the natural numbers.

Any number multiplied by one is the number, as one is the identity for multiplication. As a result, one is its own factorial, its own square, its own cube, and so on. One is also the empty product, as any number multiplied by one is itself, which produces the same result as multiplying by no numbers at all.

As a digit[link]

The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small. This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeral $\backslash mathrm\{I\}$. In some European countries (e.g., Germany), the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.

While the shape of the 1 character has an ascender in most modern typefaces, in typefaces with text figures, the character usually is of x-height, as, for example, in Image:TextFigs148.svg.

Many older typewriters do not have a separate symbol for ''1'' and use the lowercase ''l'' instead. It is possible to find cases when the uppercase ''J'' is used, while it may be for decorative purposes.

Mathematics[link]

Mathematically, 1 is

in arithmetic (algebra) and calculus, the natural number that follows 0 and precedes 2 and the multiplicative identity of the integers, real numbers and complex numbers;

more generally, in abstract algebra, the multiplicative identity ("unity"), usually of a ring.

One cannot be used as the base of a positional numeral system; sometimes tallying is referred to as "base 1", since only one mark (the tally) is needed, but this is not a positional notation.

The logarithms base 1 are undefined, since the function 1^''x'' always equals 1 and so has no unique inverse.

In the real-number system, 1 can be represented in two ways as a recurring decimal: as 1.000... and as 0.999... (''q.v.'').

Formalizations of the natural numbers have their own representations of 1:

in the Peano axioms, 1 is the successor of 0;

in Principia Mathematica, 1 is defined as the set of all singletons (sets with one element);

in the Von Neumann cardinal assignment of natural numbers, 1 is defined as the set {0}.

In a multiplicative group or monoid, the identity element is sometimes denoted ''1'', especially in abelian groups, but ''e'' (from the German ''Einheit'', "unity") is more traditional. However, ''1'' is especially common for the multiplicative identity of a ring, i.e., when an addition and ''0'' are also present. When such a ring has characteristic ''n'' not equal to 0, the element called 1 has the property that ''n''1 = 1''n'' = 0 (where this 0 is the additive identity of the ring). Important examples are general fields.

One is the first figurate number of every kind, such as triangular number, pentagonal number and centered hexagonal number, to name just a few.

In many mathematical and engineering equations, numeric values are typically ''normalized'' to fall within the unit interval from 0 to 1, where 1 usually represents the maximum possible value in the range of parameters.

Because of the multiplicative identity, if ''f''(''x'') is a multiplicative function, then ''f''(1) must equal 1.

It is also the first and second numbers in the Fibonacci sequence and is the first number in many other mathematical sequences. As a matter of convention, Sloane's early ''Handbook of Integer Sequences'' added an initial 1 to any sequence that did not already have it and considered these initial 1's in its lexicographic ordering. Sloane's later ''Encyclopedia of Integer Sequences'' and its Web counterpart, the ''On-Line Encyclopedia of Integer Sequences'', ignore initial ones in their lexicographic ordering of sequences, because such initial ones often correspond to trivial cases.

One is neither a prime number nor a composite number, but a unit, like -1 and, in the Gaussian integers, ''i'' and -''i''. The fundamental theorem of arithmetic guarantees unique factorization over the integers only up to units (e.g., 4 = 2² = (-1)⁶×1²³×2²).

The definition of a field requires that 1 must not be equal to 0. Thus, there are no fields of characteristic 1. Nevertheless, abstract algebra can consider the field with one element, which is not a singleton and is not a set at all.

One is the only positive integer divisible by exactly one positive integer (whereas prime numbers are divisible by exactly two positive integers, composite numbers are divisible by more than two positive integers, and zero is divisible by all positive integers). One was formerly considered prime by some mathematicians, using the definition that a prime is divisible only by one and itself. However, this complicates the fundamental theorem of arithmetic, so modern definitions exclude units.

One is one of three possible values of the Möbius function: it takes the value one for square-free integers with an even number of distinct prime factors.

One is the only odd number in the range of Euler's totient function φ(''x''), in the cases ''x'' = 1 and ''x'' = 2.

One is the only 1-perfect number (see multiply perfect number).

By definition, 1 is the magnitude or absolute value of a unit vector and a unit matrix (more usually called an identity matrix). Note that the term ''unit matrix'' is sometimes used to mean something quite different.

By definition, 1 is the probability of an event that is almost certain to occur.

One is the most common leading digit in many sets of data, a consequence of Benford's law.

The ancient Egyptians represented all fractions (with the exception of 2/3 and 3/4) in terms of sums of fractions with numerator 1 and distinct denominators. For example, $\backslash frac\{2\}\{5\}\; =\; \backslash frac\{1\}\{3\}\; +\; \backslash frac\{1\}\{15\}$. Such representations are popularly known as Egyptian Fractions or Unit Fractions.

The Generating Function that has all coefficients 1 is given by

$\backslash frac\{1\}\{1-x\}\; =\; 1\; +\; x\; +\; x^2\; +\; x^3\; +\; \backslash cdots$.

This power series converges and has finite value if and only if, .

Table of basic calculations[link]

{|class="wikitable" style="text-align: center; background: white" |- ! style="width:105px;"|Multiplication !1 !2 !3 !4 !5 !6 !7 !8 !9 !10 ! style="width:5px;"| !11

!12 !13 !14 !15 !16 !17 !18 !19 !20 ! style="width:5px;"| !21 !22 !23 !24 !25 ! style="width:5px;"| !50 !100 !1000 |- |$1\; \backslash times\; x$ |1 |2 |3 |4 |5 |6 |7 |8 |9 |10 ! |11 |12 |13 |14 |15 |16 |17 |18 |19 |20 ! |21 |22 |23 |24 |25 ! |50 |100 |1000 |}

{|class="wikitable" style="text-align: center; background: white" |- ! style="width:105px;"|Division !1 !2 !3 !4 !5 !6 !7 !8 !9 !10 ! style="width:5px;"| !11 !12 !13 !14 !15 |- |$1\; \backslash div\; x$ |1 |0.5 |$0.\backslash overline\{3\}$ |0.25 |0.2 |$0.1\backslash overline\{6\}$ |$0.\backslash overline\{142857\}$ |0.125 |$0.\backslash overline\{1\}$ |0.1 ! |$0.\backslash overline\{0\}\backslash overline\{9\}$ |$0.08\backslash overline\{3\}$ |$0.\backslash overline\{076923\}$ |$0.0\backslash overline\{714285\}$ |$0.0\backslash overline\{6\}$ |- |$x\; \backslash div\; 1$ |1 |2 |3 |4 |5 |6 |7 |8 |9 |10 ! |11 |12 |13 |14 |15 |}

{|class="wikitable" style="text-align: center; background: white" |- ! style="width:105px;"|Exponentiation !1 !2 !3 !4 !5 !6 !7 !8 !9 !10 ! style="width:5px;"| !11 !12 !13 !14 !15 !16 !17 !18 !19 !20 |- |$1\; ^\; x\backslash ,$ |1 |1 |1 |1 |1 |1 |1 |1 |1 |1 ! |1 |1 |1 |1 |1 |1 |1 |1 |1 |1 |- |$x\; ^\; 1\backslash ,$ |1 |2 |3 |4 |5 |6 |7 |8 |9 |10 ! |11 |12 |13 |14 |15 |16 |17 |18 |19 |20 |}

In technology[link]

The resin identification code used in recycling to identify polyethylene terephthalate

Used in binary code along with 0

In science[link]

The atomic number of hydrogen

In philosophy[link]

In the philosophy of Plotinus and a number of other neoplatonists, The One is the ultimate reality and source of all existence.

In fiction[link]

The characters Thomas the Tank Engine, Skarloey and Godred from The Railway Series and Thomas and Friends have this number.

Numbuh 1, a character from Codename: Kids Next Door.

The character Francesco Bernoulli from Cars 2 is numbered 1.

Mr. One from One Piece.

The General Lee from The Dukes of Hazzard is numbered 01.

Jean-Luc Picard, Captain of the Enterprise-D in Star Trek: The Next Generation, refers to his second-in-command, Will Riker as Number One.

In sports[link]

1 is the lowest number permitted for use by players of the National Hockey League (NHL), as the league has banned 00 and 0. (The highest number permitted is 98.)

Many sports use 1 as their standard scoring increment—examples include goals in a large number of sports, runs in baseball and cricket, and points in volleyball. Examples where 1 is a non-standard increment, or used for one of several possible classes of scores, are listed below by sport.

In Australian rules football, 1 point is awarded to the attacking team for a behind, scored when:

* The ball is kicked by the attacking team and passes between a goal post (taller post) and the nearest behind post (shorter post) on the defensive side of the field without touching the behind post.

* The ball passes between the defending team's goal posts, but either (1) was not kicked by the attacking team or (2) hit a goal post.

* The defending team deliberately forces the ball between any two of its own posts. This particular score is officially called a "rushed behind".

In baseball scoring, the number 1 is assigned to the pitcher.

In basketball:

* 1 point is awarded for a successful free throw.

* The number 1 is used to designate the point guard position.

In football (soccer):

* 1 point is awarded for a successful goal

* The number 1 is occasionally given to the goalkeeper

In Gaelic football, hurling and camogie, a "point", with a scoring value of 1, is awarded when the attacking team legally sends the ball over the opponent's crossbar (above the goal).

In gridiron football codes, one point is awarded under the following circumstances:

* In almost all leagues, for a successful place kick after a touchdown. In American football, the score is formally known as a "try", although the terms "extra point", "conversion", "PAT" (for "point after touchdown"), and "point after" are far more commonly used. In Canadian football, the score is formally and popularly called a "convert". Conversions can also be scored by the now-rare drop kick; in standard American and Canadian football, such a conversion is worth 1 point, while most forms of indoor football, including the Arena Football League, award 2 points for a drop-kicked conversion.

* In six-man football, one point is awarded for a successful conversion from scrimmage after a touchdown. Note that in standard 11-man (American) or 12-man (Canadian) football, place kicks are worth 1 point and conversions from scrimmage worth 2; this is reversed in six-man because the reduced number of players makes kicked conversions much more difficult.

* In Canadian football only, a single or "rouge" is awarded when the ball is legally kicked into the opponent's end zone (except for a successful field goal), and the receiving team does not return, or kick, the ball out of its end zone. (In American football, the same play would result in a touchback and no points.)

* Some forms of indoor football in the U.S. award a "single", similar to the Canadian score, on kickoffs only.

In rugby league:

* A drop goal is worth 1 point.

* In most competitions (though not the European Super League, which uses static squad numbering), the starting fullback wears jersey number 1.

In rugby union:

* The starting loosehead prop wears the jersey number 1.

* In the early years of the sport (prior to 1890), conversions, penalties, drop goals, and goals from mark were all worth 1 point. At that time, a try was worth no points, only giving the attacking team the right to attempt a conversion. In 1890–91, tries were rewarded with 1 point, while all other scores were increased in value. After that time, all scores have been worth at least 2 points (the goal from mark was abolished in 1977).

The jersey number 1 has been retired by several North American sports teams in honor of past playing greats or other key figures (or, in one case, a team's fans):

* In Major League Baseball:

** The Boston Red Sox, for Hall of Famer Bobby Doerr.

** The Cincinnati Reds, for manager Fred Hutchinson.

** The Los Angeles Dodgers, for Hall of Famer Pee Wee Reese.

** The New York Yankees, for Billy Martin, who both played for and managed the team.

** The Philadelphia Phillies, for Hall of Famer Richie Ashburn.

** The Pittsburgh Pirates, for manager Billy Meyer.

** The St. Louis Cardinals, for Hall of Famer Ozzie Smith.

* In the NBA:

** The Boston Celtics, for founding owner Walter Brown, a member of the Hall of Fame as a contributor.

** The Milwaukee Bucks, for Hall of Fame player Oscar Robertson.

** The Portland Trail Blazers, for founding owner Larry Weinberg. Unlike most numbers so honored, this number remains in circulation for players.

** The Sacramento Kings, for Hall of Fame player Nate Archibald, honoring the number's retirement when the team was known as the Kansas City Kings.

** The Seattle SuperSonics, for Gus Williams. The team has since relocated to become the Oklahoma City Thunder, but the Thunder have yet to issue any number retired by the franchise in Seattle.

** The Utah Jazz, for Frank Layden, who served the team first as head coach and then as president.

* In the NFL:

** The New York Giants, for Hall of Famer Ray Flaherty.

** The Tennessee Titans, for Hall of Famer Warren Moon, who played for the team in its past incarnation as the Houston Oilers.

* In the NHL:

** The Chicago Blackhawks, for Hall of Famer Glenn Hall.

** The Detroit Red Wings, for Hall of Famer Terry Sawchuk.

** The Montreal Canadiens, for Hall of Famer Jacques Plante.

** The New York Rangers, for Hall of Famer Eddie Giacomin.

** The Minnesota Wild, for their fans.

** The Philadelphia Flyers, for Hall of Famer Bernie Parent.

** The Toronto Maple Leafs have a policy of not retiring numbers unless the player honoured either died or suffered a career-ending incident while a member of the team. Other players whose numbers would otherwise be retired instead have their numbers enshrined by the team as "Honoured Numbers", which remain in circulation for future players. The number 1 is currently honoured for Hall of Famers Johnny Bower and Turk Broda.

See also[link]

−1

One (word)

Root of unity

Notes[link]

01

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name	Erik Satie
birth name	Éric Alfred Leslie Satie
birth date	May 17, 1866
birth place	Honfleur, France
death date	July 01, 1925
death place	Paris, France
occupation	Pianist, Composer
partner	Suzanne Valadon }}

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

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

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

Early life and training[link]

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

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

Career[link]

Montmartre[link]

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

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

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

Move to Arcueil[link]

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

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

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

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

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

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

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

Height of success and influence[link]

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

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

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

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

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

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

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

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

Personal life[link]

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

Death[link]

After years of heavy drinking, Satie died on 1 July 1925 from cirrhosis of the liver. He is buried in the cemetery in Arcueil. There is a tiny stone monument designating a grassy area in front of an apartment building—'Parc Erik Satie'. Over the course of his 27 years in residence at Arcueil, no one had ever visited his room. After his death, Satie's friends discovered compositions that were totally unknown or thought to have been lost. The orchestral score to ''Parade'' was thought, by Satie, to have been left on a bus years before. These were found behind the piano, in the pockets of his velvet suits, and in other odd places, and included the ''Vexations''; ''Geneviève de Brabant'' and other unpublished or unfinished stage works; ''The Dreamy Fish''; many Schola Cantorum exercises; a previously unseen set of "canine" piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional '''', '''', '''', and ''furniture music''.

Media[link]

Recordings and arrangements[link]

Piano works[link]

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

Orchestral and vocal[link]

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

Arrangements in popular music[link]

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

In 1987, the Serbian electronic music composer Mitar Subotić on his debut album ''Disillusioned!'' recorded a twenty-five minute long instrumental track "Thanx Mr. Rorschach - Ambijenti na muziku Erika Satija" ("Thanx Mr. Rorschach - Ambient to the music by Erik Satie"), as a kind of a musical Rorschach test to the music by Satie.

In 1989, the Vienna Art Orchestra (directed by Mathias Rüegg) released ''The Minimalism of Eric Satie'', a 2-LP set on the Swiss HatART label that included "reflections" on a number of Satie's works, notably three performances of Vexations in various instrumental/vocal combinations.

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

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

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

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

The English electronic duo Isan recorded versions of the three for a 2006 7-inch single, "" on the Morr Music record label.

The 2006 video game Mother 3 features an arrangement of the 1st Gymnopedie as background music, titled "Leder's Gymnopedie".

The 2006 movie The Painted Veil features Gnossienne No. 1 throughout the film.

The 2nd movement of his '''' has been used in the original soundtrack of 2010 Japanese animated film ''The Disappearance of Haruhi Suzumiya'' by Kyoto Animation studio. The full ''Gymnopédies'' as long as ''Gnossiennes'' are included in the 2nd CD of this OST.

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

In 2011, singer-songwriter Tori Amos released an album entitled Night of Hunters, where her song "Battle of Trees" is a variation on Gnossienne no. 1.

In 2011, Satie's "Gnossienne No.1" was used in the film Hugo.

See also[link]

Ambient music

Dada

Impressionist music

List of compositions by Erik Satie

Surrealism

References [link]

Sources[link]

''In English, unless indicated:''

Writings by Satie[link]

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

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

Books and articles on Satie[link]

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

Davis, Mary E., ''Erik Satie''. Reaktion Books – Critical Lives. June 2007. ISBN 978-1-86189-321-5

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

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

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

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

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

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

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

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

Other[link]

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

External links[link]

Information and listening[link]

Biography and photos

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

About Erik Satie – The eccentric Impressionist French composer and musician

Erik Satie at Pytheas Center for Contemporary Music

Three Gymnopedies by Eric Satie

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

Scores[link]

Public domain scores Satie's Scores + Audio

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

Satie's Scores – by the Mutopia Project

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

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Name	Andy Lau
Tradchinesename
Simpchinesename
Pinyinchinesename	Liú Déhuá
Jyutpingchinesename	Lau4 Dak1 Waa4
Used name	Lau Fook-Wing ()
Ancestry	Xinhui, Guangdong
Birth date	September 27, 1961
Birth place	Tai Po, Hong Kong
Othername	Wah Zai ()Lau Wah ()Ngau Wah ()
Occupation	Singer, actor, film producer, and presenter
Genre	Cantopop, Mandopop
Instrument	Singing
Label	Capital Artist(1985) EMI(1986-1989, 2002-2004) Polygram(1990-1993) Warner Music(1993-1995) Music Impact(1995-2000) Multi-Talent(2000-2002) Ever Song (2004-2005) Focus Music (2005-2007) East Asia Music(2007-present)
Yearsactive	1981 - present
Associatedact	Five Tiger Generals
Spouse	Carol Chu (2008 - present)
Children	1 daughter
Website	www.andylau.com
Hongkongfilmwards	Best Film1998 ''Made in Hong Kong''2011 ''Gallants''2012 ''A Simple Life'' Best Actor2000 ''Running Out of Time''2004 ''Running on Karma''2012 ''A Simple Life'' Best Supporting Actor2008 ''Protégé'' Best Original Film Song2003 ''Infernal Affairs''
Goldenbauhiniaawards	Best Actor2001 ''A Fighter's Blues''
Hkfcsawards	Best Actor2003 ''Running on Karma''
Goldenhorseawards	Best Actor2003 ''Infernal Affairs III''2011 ''A Simple Life''
Goldenroosterawards	Best Media Rooster for 2009
Tvbanniversaryawards	My Most Memorable Male Leading Role1999 ''The Return of the Condor Heroes''
Awards	Panasonic Awards 20071st Asian Film Awards2007 Box Office Star of Asia Award }}

Andy Lau Tak-Wah MH, JP (born 27 September 1961) is a Hong Kong Cantopop singer, actor, and film producer. Lau has been one of Hong Kong's most commercially successful film actors since the mid-1980s, performing in more than 160 films while maintaining a successful singing career at the same time. In the 1990s, Lau was branded by the media as one of the Four Heavenly Kings of Cantopop (四大天王) along with Aaron Kwok, Jacky Cheung and Leon Lai.

Biography[link]

Andy Lau was born in Tai Po, Hong Kong, with origins in Xinhui, Guangdong. As a young boy Lau had to fetch water for his family up to eight times a day because their house was not equipped with plumbing. He later graduated from a Band One Secondary School, Ho Lap College in San Po Kong, Kowloon. He also practices Chinese calligraphy. Lau converted to Buddhism in the 1980s. He was raised in a nominally Buddhist household and is now a follower of the Lingyan Mountain Temple in Taiwan.

In 2008, Lau married Malaysian Chinese Carol Chu after 24 years of speculation over their relationship. The couple registered their marriage in Clark County, Nevada, in the United States. On 9 May 2012, Chu gave birth to his first child, a daughter.

Career[link]

Dramatic acting[link]

In 1981, Lau signed up for the artist training program offered by TVB, which is where his acting career began. The lead role which led to his initial popularity was in the 1982 TVB series ''The Emissary''. In 1983, Lau's role as ''"Yang Guo"'' in the TVB series ''The Return of the Condor Heroes'' further increased his popularity. From then on, he would take on many of the lead roles in many of the TVB series.

In September 1983, TVB was looking to increase their ratings in competition with Korea and Japan for the best variety show. The station then created the show ''TVB All-star challenge'' (星光熠熠勁爭輝) featuring almost the entire lineup of the most popular actors and singers at the time. Lau along with Tony Leung, Michael Miu, Felix Wong, and Kent Tong were branded as "TVB's Five Tigers" (無線五虎將) due to their popularity on the show.

In the late 80s, Lau left TVB due to contract problems. TVB wanted to bind him to an exclusive five-year contract which Lau refused to sign, so TVB blacklisted him. He then focused on his film career.

Film acting[link]

In 1981, Lau made a guest appearance in one of Susanna Kwan's music video and caught the eye of the manager Teddy Robin. Teddy Robin then gave Lau a chance to play a small role in the movie ''Once Upon a Rainbow''. This was the first step in Lau's film acting career. He was then given a role in Ann Hui's 1982 film, ''Boat People.'' Later in 1983 he had his first leading role in a Shaw Brothers film called ''On the Wrong Track''.

One of his early leading roles included the more serious 1988 film ''The Truth'' (法內情). However, Lau is best known in movies for his (often) recurring roles as a "Heroic Gangster" such as Wong Kar-wai's 1988 film, ''As Tears Go By'' and Johnnie To's 1990 film, ''A Moment of Romance''.

Though a respectable actor, Lau in the early days was known more for his good looks. The people he works with say he is an idol, but he has claimed to be an artist. Lau has proved his acting skills in many of his movies. His first major acting prize came with ''A Fighter's Blues'', which was his first Golden Bauhinia Award for Best Actor. He would win the Hong Kong Film Award for Best Actor award that year for ''Running out of Time''. In 2004, he won the prestigious Golden Horse Award for his performance in ''Infernal Affairs III'', the sequel to the popular ''Infernal Affairs''. Western audiences may also be familiar with his performance in the ''House of Flying Daggers''.

In 2005, Lau was awarded "No.1 Box Office Actor 1985-2005" of Hong Kong, yielding a total box office of HKD 1,733,275,816 for shooting 108 films in the past 20 years. The aforementioned figure is as compared to the first runner-up Stephen Chow's (HKD 1,317,452,311) and second runner-up Jackie Chan's (HKD 894,090,962). "I've never imagine that it would be as much as 1.7 billion!" he told the reporters. For his contributions, a wax figure of Lau was unveiled on June 1, 2005 at the Madame Tussauds Hong Kong. In 2007, Lau was also awarded the "Nielsen Box Office Star of Asia" by the Nielsen Company (ACNielsen).

Film producer[link]

In 1991 Lau has set up his own film production company called Teamwork Motion Pictures Limited, which in 2002 was renamed to Focus Group Holdings Limited. His contributions in the film industry as well as his involvement in nurturing new talents in the Asian film industry led him to being awarded the "Asian Filmmaker of the Year" in the Pusan International Film Festival in 2006. Some of the films he produced include the award-winning ''Made in Hong Kong'' and the mainland digital film ''Crazy Stone''.

Musical career[link]

Lau released his first album ''"Only Know that I Still Love You"'' (只知道此刻愛你) under Capital Artists in 1985. However, his first album was not a big hit. Despite having a voice not traditionally associated with popular music, his hard work and perseverance resulted in him being one of the most successful singers. His singing career reached stellar status in 1990 with the release of the album entitled ''"Would It Be Possible"'' (可不可以), and his subsequent releases only solidified his status as a marketable singer. For that song, he would win his first 1990 RTHK Top 10 Gold Songs Awards. He would then win at least one RTHK award category every year consecutively until the year 2007.

From Jade Solid Gold Top 10 Awards, he has won the “Most Popular Hong Kong Male Artist” award 7 times and the “Asia Pacific Most Popular Hong Kong Male Artist” award 15 times. He also entered into Guinness World Records for "Most Awards Won By A Cantopop Male Artist". By April 2000, he had already won a total unprecedented 292 awards.

Many of his songs quickly topped the music charts, not only in Hong Kong, but also in Taiwan, Mainland China, and in many different parts of Asia. Some of the most notable hits by Lau include ''"The Days We Spent Together"'' (一起走過的日子), ''"If You Are My Legend"'' (如果你是我的傳說), ''"The Tide"'' (潮水), ''"Forget Love Potion"'' (忘情水), ''"True Forever"'' (真永遠), ''"Chinese people"'' (中國人), ''"Love You Forever"'' (愛你一萬年), ''"You Are My Woman"'' (你是我的女人), ''"Secret Admiration"'' (暗裡著迷). Besides singing in Cantonese and Mandarin, he also sang in other languages, such as English, Japanese, Malay, and Taiwanese. One example of a Hokkien song was (世界第一等).

Since the early 1990s, Lau, along with Jacky Cheung, Aaron Kwok and Leon Lai have been referred by the Chinese media as the Cantopop Four Heavenly Kings (四大天王).

Lau sang alongside Jackie Chan during a part of the 2008 Summer Olympics closing ceremony on August 24, 2008. In addition Lau, who has been supporting the disabled athletes in Hong Kong for more than a decade, was appointed as the Goodwill ambassador for the 2008 Summer Paralympics. He led other performers in singing and performing the song ''"Everyone is No.1"'' at the Beijing National Stadium just a few hours before the 2008 Paralympics opening ceremony began to show his support for the disabled athletes. He also sang the theme song ''"Flying with the Dream"'' with Han Hong during the Paralympics opening ceremony on September 6, 2008.

Appearance in other media[link]

Lau is alleged to have been featured as a non-player character (NPC) as a random pedestrian in a sandbox-style action video game called ''PROTOTYPE''. On 6 July, the Hong Kong local newspapers Headline Daily and Sing Tao Daily reported on Lau's cameo.

Community[link]

In 1994, Lau established the "Andy Lau Charity Foundation" which helps people in need and promotes a wide range of youth education services. In 1999, he was awarded the "Ten Outstanding Young Persons of the World", being the 3rd person from Hong Kong at that time to bestow this distinguished honor. In 2008, Lau took a main role in putting together the Artistes 512 Fund Raising Campaign for donation relief toward the victims of the 2008 Sichuan earthquake. It was one of the largest and most ambitious charity event ever assembled in the territory.

Lau has been noted for his active involvement in charity works throughout his 30 years of showbiz career and was honored "Justice of Peace" by the Hong Kong SAR government in 2008. In May 2010, he received the "World Outstanding Chinese" award and an "honorary doctorate" from the University of New Brunswick, Canada.

Incidents[link]

Yang Li-juan fan case[link]

Lau experienced unexpected notoriety with his encounter with a 29 year old fan from mainland China, Yang Li-juan (楊麗娟), who had idolized the star for 13 years. After her parents sold the family house to pay for a trip to Hong Kong, Yang finally met Lau on March 26, 2007. One day later, Yang's father committed suicide by throwing himself into the sea in Hong Kong, leaving a suicide note chiding Lau for not having taken his daughter more seriously.

Awards and nominations[link]

Hong Kong Film Awards

Won [link]

1998 Best Film for ''Made in Hong Kong'' (Producer)

2000 Best Actor for ''Running Out of Time''

2003 Best Original Film Song for ''Infernal Affairs'' (Singer with )

2004 Best Actor for ''Running on Karma''

2008 Best Supporting Actor for ''Protégé''

2011 Best Film for ''Gallants'' (Producer)

2012 Best Film for ''A Simple Life'' (Producer)

2012 Best Actor for ''A Simple Life''

Nominations [link]

Best Actor [link]

1989 Best Actor Nomination for ''As Tears Go By''

1992 Best Actor Nomination for ''Lee Rock''

1996 Best Actor Nomination for ''Full Throttle''

2001 Best Actor Nomination for ''A Fighter's Blues''

2002 Best Actor Nomination for ''Love on a Diet''

2003 Best Actor Nomination for ''Infernal Affairs''

2006 Best Actor Nomination for ''Wait 'Til You're Older''

2008 Best Actor Nomination for ''The Warlords''

Best Original Film Song [link]

1992 Best Original Film Song Nomination for ''Casino Raiders II'' (Singer)

1995 Best Original Film Song Nomination for '''' (Singer)

1996 Best Original Film Song Nomination for ''Full Throttle'' (Singer/Lyricist)

1998 Best Original Film Song Nomination for ''Island of Greed'' (Singer)

1999 Best Original Film Song Nomination for ''The Longest Summer'' (Singer)

1999 Best Original Film Song Nomination for ''A True Mob Story'' (Singer/Lyricist)

2002 Best Original Film Song Nomination for ''Shaolin Soccer'' (Singer/Lyricist)

2006 Best Original Film Song Nomination for ''Wait 'Til You're Older'' (Singer/Lyricist)

2008 Best Original Film Song Nomination for ''Brothers'' (Singer with Eason Chan/Lyricist)

2012 Best Original Film Song Nomination for ''Shaolin'' (Singer/Lyricist)

Other Nominations [link]

1983 Best New Performer Nomination for ''Boat People''

1999 Best Film Nomination for ''The Longest Summer'' (Producer)

2007 Best Asian Film Nomination for ''Crazy Stone'' (Producer)

(11 Best Actor Nominations, 11 Best Original Film Song Nominations, 4 Best Film Nominations, 1 Best Supporting Actor Nomination, 1 Best New Performer Nomination, 1 Best Asia Film Nomination)

References[link]

External links[link]

Andy Lau's Official Website

Andy World Club

Andy Lau interview.

|- ! colspan="3" style="background: #DAA520;" | Jade Solid Gold Best Ten Music Awards Presentation |- |- ! colspan="3" style="background: #DAA520;" | Hong Kong Film Awards |- ! colspan="3" style="background: #DAA520;" | Power Academy Awards |-

Category:Best Actor HKFA Category:Best Supporting Actor HKFA Category:Hong Kong Buddhists Category:Hong Kong male singers Category:Cantopop singer-songwriters Category:Cantopop singers Category:Hong Kong Mandopop singers Category:1961 births Category:Living people Category:Hong Kong film producers Category:Hong Kong entrepreneurs Category:Hong Kong film presenters Category:Hong Kong people of Xinhuiese descent Category:Cantonese people

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