Oud

Front and rear views of an oud
String instrument
Classification	Necked bowl lutes String instruments
Hornbostel–Sachs classification	321.321-6 (Composite chordophone sounded with a plectrum)
Developed	Antiquity
Related instruments
Angélique (instrument) Archlute Balalaika Barbat (lute) Baglamadaki Bağlama Biwa Bouzouki Charango Chitarra Italiana Daguangxian Đàn tỳ bà Dombra Domra Dutar Electric pipa Erhu Irish bouzouki Liuqin Lute Mandocello Mandola Mandolin Mandolute Oud Pandura Pipa Qanbus Rubab Setar Sitar Surbahar Tambouras Tambura Tanbur Tanbur (Turkish) Tembûr Theorbo Tiorbino Tiqin Topshur Veena Zhonghu

The Oud ( /ˈuːd/; Arabic: عود‎ ʿūd, plural:أعواد, a‘wād; Assyrian:ܥܘܕ ūd, Greek: ούτι; Persian: بربط‎ barbat; Turkish: ud or ut;^[1] Armenian: ուդ, Azeri: ud; Hebrew: עוד ud‎; Somali: cuud or kaban) is a pear-shaped stringed instrument commonly used in North African (Chaabi, Classical, and Andalusian) and Middle Eastern music. The modern oud and the European lute both descend from a common ancestor via diverging paths. The oud is readily distinguished by its lack of frets and smaller neck.

Name[link]

A 12th century manuscript depicting musicians with various instruments such as Oud.

The origin of the name oud (and its etymological cousin, lute) for the musical instrument is uncertain, but the Arabic العود (al-ʿūd) refers literally to a thin piece of wood similar to the shape of a straw, and may refer to the wooden plectrum traditionally used for playing the oud,^[2] to the thin strips of wood used for the back, or to the wooden soundboard that distinguished it from similar instruments with skin-faced bodies.^[3] Recent research by Eckhard Neubauer suggests that oud may simply be an Arabic borrowing from the Persian name rud, which meant string, stringed instrument, or lute.^[4][5]

The Arabic definite article al- was not retained when al-ʿūd was borrowed into Turkish, nor was the letter ʿayn, the sound of which (a voiced pharyngeal fricative) does not exist in Turkish. The resulting Turkish word is simply ud (with a pronunciation similar to the word food without the f).

The oud was most likely introduced to Western Europe by the Arabs who established the Umayyad Caliphate of Al-Andalus on the Iberian Peninsula in 711. Oud-like instruments such as the Ancient Greek Pandoura and the Roman Pandura likely made their way to the Iberian Peninsula much earlier than the oud. However, it was the royal houses of Al-Andalus that cultivated an environment that raised the level of oud playing to greater heights and boosted the popularity of the instrument. The most famous oud player of Al-Andalus was Ziryab. He established a music school in Córdoba, enhanced playing technique and added a fifth course to the instrument. The European version of this instrument came to be known as the lute – luth in French, Laute in German, liuto in Italian, luit in Dutch, laúd in Spanish, and alaúde in Portuguese. The word "luthier", meaning stringed instrument maker, is in turn derived from the French luth. Unlike the oud, the European lute utilizes frets (usually tied gut).

History[link]

According to Farabi, the oud was invented by Lamech, the sixth grandson of Adam. The legend tells that the grieving Lamech hung the body of his dead son from a tree. The first oud was inspired by the shape of his son's bleached skeleton.^{[6][not in citation given]}

The oldest pictorial record of a lute dates back to the Uruk period in Southern Mesopotamia (modern Nasiriyah city), over 5000 years ago on a cylinder seal acquired by Dr. Dominique Collon and currently housed at the British Museum.^[7] The image depicts a female crouching with her instruments upon a boat, playing right-handed. This instrument appears many times throughout Mesopotamian history and again in ancient Egypt from the 18th dynasty onwards in long and short-neck varieties. One may see such examples at the Metropolitan Museums of New York, Philadelphia, Cleveland, and the British Museum on clay tablets and papyrus paper. This instrument and its close relatives have been a part of the music of each of the ancient civilizations that have existed in the Mediterranean and the Middle East regions, including the Sumerians, Akkadians, Persians, Kurds, Babylonians, Assyrians, Greeks, Egyptians, and Romans.

Arab musician in Aleppo, Syria with an oud circa 1915.

The ancient Turkic peoples had a similar instrument called the kopuz. This instrument was thought to have magical powers and was brought to wars and used in military bands. This is noted in the Göktürk monument inscriptions, the military band was later used by other Turkic state's armies and later by Europeans.^[8] According to musicologist Çinuçen Tanrıkorur today's oud was derived from the kopuz by Turks near Central Asia and additional strings were added by them.^[9]

Today's oud is totally different from the old prototypes and the Turkish oud is different from the Arabic oud in playing style and shape. The Turkish oud is derived from modifying the Arabic oud: its development has been attributed to Manolis Venios, a well known Greek luthier who lived in Istanbul in the late 19th and early 20th centuries.^{[citation needed]} In Greece and Armenia musicians use the Turkish ouds and tunings.^{[citation needed]}

The oud has a particularly long tradition in Iraq,^[10] where a saying goes that in its music lies the country’s soul.^[10] A ninth-century Baghdad jurist praised the healing powers of the instrument, and the 19th century writer Muhammad Shihab al-Din related that it "places the temperament in equilibrium" and "calms and revives hearts."^[10] Following the invasion of Iraq and the overthrow of the secular Ba'athist regime in 2003, however, the increasing fervor of Islamic militants who consider secular music to be haraam (forbidden) forced many oud players and teachers into hiding or exile.^[10]

Defining features[link]

• Lack of frets: The oud, unlike many other plucked stringed instruments, does not have a fretted neck. This allows the player to be more expressive by using slides and vibrato. It also makes it possible to play the microtones of the Arabic Maqam System. This development is relatively recent, as ouds still had frets in AD 1100, and they gradually lost them by AD 1300, mirroring the general development of Near-Eastern music which abandoned harmony in favor of melismatics.
• A tapering neck: The oud, unlike the lute, the mandolin and the guitar, has a tapering neck with courses of strings converging towards one another at the pegbox end. The parallel courses found in lutes, mandolins and guitars are not necessary as music in the maqam system does not consist of series of chords.
• Strings: With some exceptions, the modern oud has eleven strings. Ten of these strings are paired together in courses of two. The eleventh, lowest string remains single. There are many different tuning systems for the oud which are outlined below. The ancient oud had only four courses — five by the 9th century. The strings are generally lighter to play than the modern classical guitar.
• Pegbox: The pegbox of the oud is bent back at a 45-90° angle from the neck of the instrument. This provides the necessary tension that prevents the pegs from slipping. The tension of the strings helps to hold what would otherwise be a weak joint together. The nut is held in place by the string tension, rather than being glued. The pegs do not slip if tapered accurately; if they do, chalk is used to make them stick more, and soap to enable them to slip more. Proprietary compounds or pastes, sometimes called pegdope are also used.
• Body: The oud's body has a staved, bowl-like back resembling the outside of half a watermelon, unlike the flat back of a guitar. This bowl allows the oud to resonate and have a particular tone quality. The shape is structurally very strong and stable enabling it to be very thin. It can be as thin as 1.2 mm. Although made of dense hardwood, good instruments are not heavy. The guitar structure would not be stable if the build were as light.
• Sound-holes: The oud generally has one to three sound-holes, which may be either oval or circular, and often are decorated with a carved bone or wooden rosette.

Construction[link]

A Muslim and a Christian playing an early version of the modern guitar in Al-Andalus.

Construction of the oud is similar to that of the lute.^[11] The back of the instrument is made of thin wood staves glued together on edge. Alternating staves (or ribs) of light and dark wood are often used. The instrument usually has an odd number of staves. This means the back will have a center stave rather than a center seam. Contrasting trim pieces are often used between staves. Patterns and wood species used generally vary from maker to maker. In better instruments the wood is always cut on the quarter from a dense hardwood.

The top of the oud is generally made of two matching pieces of thin spruce glued together on edge. Transverse braces, also of spruce, are glued to the underside of the top.

The neck is generally made of a single piece of wood and is usually veneered in a striped pattern similar to that of the back. The pegbox meets the neck at a severe angle. The pegbox is usually made from separate side, end and back pieces glued together.

Regional types[link]

Kuwaiti Oud made by Salmeen, it shows a straight forward design

The following are the general regional characteristics of oud types in which both the shape and the tuning most commonly differ:

An ancient Syrian ud made by Abdo George Nahat of Damascus, inlaid with ivory and mother-of-pearl. It belonged to the famous Turkish Musician Şerif Muhiddin Targan.(Mevlâna mausoleum, Konya, Turkey)

• Arabic ouds: Slightly larger, slightly longer neck, lower in pitch.
  • Syrian ouds: The basic design, with less decoration
  • Iraqi (Munir Bashir type) ouds: Generally similar in size to the Syrian oud but with a floating bridge which focuses the mid-range frequencies and gives the instrument a more guitar-like sound. This kind of oud was developed by the Iraqi oud virtuoso Munir Bashir. Iraqi ouds made today often feature 13 strings, adding a pair of higher pitched nylon strings to a standard Arabic oud configuration.
  • Egyptian ouds: Similar to Syrian and Iraqi ouds but with a more pear shaped body. Slightly different tone. Egyptians commonly are set up with only the 5 courses GADGC. Egyptian Ouds tend to be very ornate and highly decorated.
• Turkish and Greek ouds ("ud, ούτι") (Includes instruments found in Armenia): Slightly smaller in size, slightly shorter neck, higher in pitch, brighter timbre.
• Persian/Iranian Oud (barbat): smaller than Arabic ouds with different tuning and higher tone. Similar to Turkish ouds but slightly smaller. The original barbat, a predecessor of the oud, had tied frets like those of a tar, setar or lute, but today these are not used.
• Oud Qadim: a type of small-bodied oud with four courses of strings from North Africa, now out of use.

Although the Greek instruments laouto and lavta appear to look much like an oud, they are very different in playing style and origin, deriving from Byzantine lutes. The laouto is mainly a chordal instrument, with occasional melodic use in Cretan music. Both always feature movable frets (unlike the oud).

Plectrum (pick)[link]

How the risha (Arab term for the pick or plectrum) of the oud is held in the palm of the hand.

The plectrum (pick) for the oud is usually a little more than the length of an index-finger. According to some sources, the Arabs traditionally used a thin piece of wood as a plectrum while Ziryab in ninth-century Spain introduced the use of an eagle's feather, while according to other sources Ziryab was the first to use a wooden plectrum.

Arabic players currently call the plectrum a reeshe or risha (Arabic: ريشة‎ rīša, "feather, quill"), while Turkish players refer to it as a mizrap (Turkish: mızrap, from Arabic: مضرب‎ miḍrab, '"striker"). Currently the plastic plectrum is most commonly used for playing the oud, being effective, affordable, and widely available, though plectrums of horn are also widely used.

Like similar strummed stringed instruments, oud players take the quality of their plectrums very seriously, even making their own out of other plastic objects. Oudist often take great care to customize the shape and thickness by sanding down the ends in order to achieve the desired results in feel, performance and sound.

See also[link]

• Arabic music
• Middle Eastern and North African music traditions
• List of oud makers
• List of oud players
• Lute

Painting[link]

• Painting of swiss artist Otto Kohler

References[link]

External links[link]

Media related to Ouds at Wikimedia Commons

v t e Greek musical instruments String Instruments Bowed instruments Byzantine lyra Contrabass Cretan lyra Pontian lyra Violin Plucked instruments Baglamas Bouzouki Karantouzeni Kanonaki Kithara (modern) Laouto Lavta Lute Mandola Mandolin Oud Piano Psaltery Tambouras Thaboura Tzouras Struck instruments Santouri Aerophones Woodwind instruments Aulos Askomandoura Dankiyo Gaida Tsampouna Floghera Flute Karamuza Klarino Lalitsa Mantura Souravli Brass instruments Trumpet Free reed Accordion Harmonica Percussion instruments Membranophones Daouli Tambourine Toubeleki Tympano Idiophones Cochilia Crotalum Koudounia Metallophone Spoon Trigono Zilia See also Music of Greece Greek folk music Byzantine music Rebetiko Laïko Greek dances

v t e Iranian musical instruments Stringed (Sāzhāy-e Zehī) Bowed Ghazhak Kamāncheh Sorāhi Plucked Barbat Chang Dotār Qānūn Robāb Sallāneh Sāz Setār Tanbūr Tār Ūd Shurangiz Shahrud Rud Mugni Struck Santur Woodwind (Sāzhāy-e Bādī) Exposed Sornā Zurna Karnay Shehnai Narmeh-ney Dozaleh Ney anban End-blown Haft Band Nāy (Ney) Sheypur Zurna Pisha Percussion (Sāzhāy-e Kūbeheyī/Zarbī) Auxiliary Darāy Daf Dohol Dāvūl Dāyereh Zangī Naqāreh Tonbak (Dombak) Kūs Sanj Dammam Zarbang Udu Persian traditional music

v t e Turkish musical instruments String instruments: █  Bowed instruments:    Karadeniz kemençe  • Classical kemençe  • Yaylı tanbur  • Rebab/Kabak kemane  • Sine kemanı █  Plucked instruments:    Kanun  • Çeng  • Tanbur (Turkish)  • Ud  • Cümbüş  • Ahenk  • Saz  • Cura (instrument)  • Baglama  • Komuz  • Shahrud  • Rud  • Lavta  • Mugni█  Struck instruments:    Santur Woodwind instruments █  Exposed:    Zurna  • Tulum  • Karkm  • Dankiyo  • Gaida  • Düdük  • Çifte █  End-blown:    Ney  • Ney (Turkish)  • Kaval  • Sipsi  • Dilli Kaval  • Dilli ney  • Mey  • Taragot  • Dilli düdük  • Kargı Düdük Percussion instruments █  Auxiliary Percussion:    Bendir  • Daf  • Davul  • Darbuka  • Naqareh  • Kus  • Kudüm  • Nagara  • Turkish crescent  • Zill  • Castanet  • Spoon See also Turkish musical instruments  • Turkish folk music  • Ottoman classical music  • Ottoman military band  • Music of Turkey

v t e Traditional Arabic musical instruments Plucked lutes Buzuq Gimbri Guembri Lotar Oud Qanbus Sintir Lavta Zithers Qanun Bowed lutes Kamanjah Rababa Lyres Simsimiyya Kissar Tanbūra Flutes Ney Kawala Reed instruments Arghul Habbān Jirba Mijwiz Mizmar Mizwad Rhaita Drums Bendir Daf Goblet drum Hajir Mazhar Mirwas Naqara Naqareh Riq Tar Tabl baladi Other percussion Krakebs Manjur Mihbaj Sagat (zills) Sistrum Clapping Clay Jug

Mahmoud Hassan Ali (born December 15, 1919) was an Egyptian Greco-Roman Bantamweight wrestler. He competed for Egypt in the 1948 Summer Olympics in London, earning a silver medal behind Kurt Pettersén of Sweden and Halil Kaya of Turkey.

Hassan and Ibrahim Orabi were the first wrestlers of Egypt to gain Olympic medals in wrestling.

References[link]

• "Olympic Medal Winners Archives". International Olympic Committee. http://www.olympic.org/uk/athletes/results/search_r_uk.asp. Retrieved 2008-08-12. 
• "Stats Egypt". ABC. http://www.abc.net.au/olympics/2008/results/historical/countries/62.htm. Retrieved 2008-08-13. 

External links[link]

• Ali Hassan's profile at Sports Reference.com

See also[link]

• List of Egyptians

This article about an Egyptian Olympic medalist is a stub. You can help Wikipedia by expanding it. v t e

This biographical article related to wrestling is a stub. You can help Wikipedia by expanding it. v t e

This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)

Umm Kulthum or Umme Kulsum (Arabic: أم كلثوم‎) is a female given name that means "Mother of Kulthum".

People who had this name:

• Umm Kulthum (singer), famous Egyptian singer (1904-1975)
• Umm Kulthum bint Ali, a daughter of Ali
• Umm Kulthum bint Abu Bakr, a daughter of Abu Bakr, a companion of Muhammad (born c. 635)
• Umm Kulthum bint Jarwila Khuzima, a sahaba of Muhammad
• Umm Kulthum bint Asim, one of the wives of Umar
• Umm Kulthum bint Uqbaحيرة, a daughter of Uqba ibn Abu Mu'ayt
• Umm Kulthum bint Muhammad, one of the daughters of Muhammad (died c. 630)
• Umm Kulthum, sister of Kazi Nazrul Islam

See also[link]

• Arabic name

Umm Kulthum
Background information
Birth name	Umm Kulthum Ebrahim Elbeltagi
Also known as	Oum Kalthoum, Om Kalsoum, Om Koulsum, Om Kalthoum, Oumme Kalsoum, Umm Kolthoum, Om Koultoum
Born	(1898-12-30)December 30, 1898 Tamay Ez-Zahayra, El Senbellawein, Dakahlia Governorate,Egypt
Died	February 3, 1975(1975-02-03) (aged 76) Cairo, Egypt
Genres	Arabic classical music
Occupations	Singer, actress
Years active	c. 1924–73
Labels	EMI Arabia
Associated acts	Fairuz Abdel Halim Hafez Mohammed Abdel Wahab Maria Callas

Umm Kulthum (Arabic: أم كلثوم‎ ʾUmm Kulṯūm; Egyptian Arabic pronunciation: [omme kælˈsuːm]; born فاطمة إبراهيم السيد البلتاجي Fātimah ʾIbrāhīm as-Sayyid al-Biltāǧī, [ˈfɑtˤmɑ (ʔe)bɾˤɑˈhiːm esˈsæjjed elbelˈtæːɡi]; see Kunya) (December 30, 1898^{[citation needed]}–February 3, 1975) was an Egyptian singer, songwriter, and actress. Born in Tamay ez-Zahayra village, which belongs to El Senbellawein, she is known as "the star of the East" (kawkab el-sharq). More than three decades after her death, she is widely regarded as the greatest female singer in Arab music history.^[1]

Biography[link]

Early life[link]

Umm Kulthum was born in Tamay ez-Zahayra village in El Senbellawein, Dakahlia Governorate, Egypt, in Dakahlia, in the Nile Delta, near the Mediterranean Sea. Her birth date is unconfirmed, as birth registration was not enforced throughout the Arab world. The Egyptian Ministry of Information seems to have given either December 31, 1898, or December 31, 1904.^[2] She was likely born some time between these two dates.

At a young age, she showed exceptional singing talent. Her father, an Imam, taught her to recite the Qur'an, and she is said to have memorized the entire book. When she was 12 years old, her father disguised her as a young boy and entered her in a small performing troupe that he directed. At the age of 16, she was noticed by Mohamed Aboul Ela, a modestly famous singer, who taught her the old classical repertoire. A few years later, she met the famous composer and oudist Zakariyya Ahmad, who invited her to come to Cairo. Although she made several visits to Cairo in the early 1920s, she waited until 1923 before permanently moving there. She was invited on several occasions to the house of Amin Beh Al Mahdy, who taught her how to play the oud, a type of lute. She developed a very close relationship to Rawheya Al Mahdi, daughter of Amin, and became her closest friend. Kulthum even attended Rawheya's daughter's wedding, although she always tried to avoid public appearances.

Amin Al Mahdi introduced her to the cultural circles in Cairo. In Cairo, she carefully avoided succumbing to the attractions of the bohemian lifestyle, and indeed, throughout her life, stressed her pride in her humble origins and espousal of conservative values. She also maintained a tightly managed public image, which undoubtedly added to her allure.

At this point in her career, she was introduced to the famous poet Ahmad Rami, who wrote 137 songs for her. Rami also introduced her to French literature, which he greatly admired from his studies at the Sorbonne, Paris, and eventually became her head mentor in Arabic literature and literary analysis. Furthermore, she was introduced to the renowned oud virtuoso and composer Mohamed El Qasabgi. El Qasabgi introduced Umm Kulthum to the Arabic Theatre Palace, where she would experience her first real public success. In 1932, her fame increased to the point where she embarked upon a large tour of the Middle East, touring such cities as Damascus, Syria; Baghdad, Iraq; Beirut and Tripoli, Lebanon.

Fame[link]

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This section may contain wording that merely promotes the subject without imparting verifiable information. Please remove or replace such wording, unless you can cite independent sources that support the characterization. (June 2010)

Umm Kulthum's establishment as one of the most famous and popular Arab singers was driven by several factors. During her early career years, she faced staunch competition from two prominent singers: Mounira El Mahdeya and Fathiyya Ahmad, who had equally beautiful and powerful voices. However, Mounira had poor control over her voice, and Fathiyya lacked the emotive vocal impact that Umm Kulthum's voice had. The presence of all these enabling vocal characteristics attracted the most famous composers, musicians, and lyricists to work with Umm Kulthum.

In the mid-1920s, Mohammad el Qasabgi, who was the most virtuosic oud player and one of the most accomplished yet understated Arab composers of the 20th century, formed her small orchestra (takht), composed of the most virtuosic instrumentalists. Furthermore, unlike most of her contemporary artists who held private concerts, Umm Kulthum's performances were open to the general public, which contributed to the transition from classical, and often elitist, to popular Arabic music.

By 1934, Umm Kulthum must have been one of the most famous singers in Egypt to be chosen as the artist to inaugurate Radio Cairo with her voice on May 31. Over the second half of the 1930s, two initiatives sealed the fate of Umm Kulthum as the most popular and famous Arab singer: her appearances in musical movies and the live broadcasting of her concerts performed on the first Thursday of each month of her musical season from October to June. Her influence kept growing and expanding beyond the artistic scene: the reigning royal family would request private concerts and even attend her public performances.

In 1944, King Farouk I of Egypt decorated her with the highest level of orders (nishan el kamal), a decoration reserved exclusively to members of the royal family and politicians. Despite this recognition, the royal family rigidly opposed her potential marriage to the King's uncle, a rejection that deeply wounded her pride and led her to distance herself from the royal family and embrace grassroots causes, such as her answering the request of the Egyptian legion trapped in Falujah during the 1948 Arab-Israeli conflict to sing a particular song. Among the army men trapped were the figures who were going to lead the bloodless revolution of July 23, 1952, prominently Gamal Abdel Nasser, who arguably was a fan of Umm Kulthum and who would later become the president of Egypt.

Early after the revolution, the Egyptian musicians guild of which she became a member (and eventually president) rejected her because she had sung for the then-deposed King Farouk of Egypt. When Nasser discovered that her songs were forbidden from being aired on the radio, he reportedly said something to the effect of "What are they, crazy? Do you want Egypt to turn against us?"^[4] It was his favor that made the musicians' guild accept her back into the fold; but it is uncertain if that happened. In addition, Umm Kulthum was a dedicated Egyptian patriot since the time of King Farouk. Some claim that Umm Kulthum's popularity helped Nasser's political agenda. For example, Nasser's speeches and other government messages were frequently broadcast immediately after Umm Kulthum's monthly radio concerts. Umm Kulthum was also known for her continuous contributions to charity works for the Egyptian military efforts. Umm Kulthum's monthly concerts took place on the first Thursday of every month and were renowned for their ability to clear the streets of some of the world's most populous cities as people rushed home to tune in.

Her songs deal mostly with the universal themes of love, longing and loss. They are nothing short of epic in scale, with durations measured in hours rather than minutes. A typical Umm Kulthum concert consisted of the performance of two or three songs over a period of three to four hours. In the late 1960s, due to her age and weakened vocal abilities, she began to shorten her performances to two songs over a period of two-and-a-half to three hours. These performances are in some ways reminiscent of the structure of Western opera, consisting of long vocal passages linked by shorter orchestral interludes. However, Umm Kulthum was not stylistically influenced by opera, and she sang solo most of her career.

During the 1930s, her repertoire took the first of several specific stylistic directions. Her songs were virtuosic, as befit her newly trained and very capable voice, and romantic and modern in musical style, feeding the prevailing currents in Egyptian popular culture of the time. She worked extensively with texts by romantic poet Ahmad Rami and composer Mohammad El-Qasabgi, whose songs incorporated European instruments such as the violoncello and double bass, as well as harmony.

Golden age[link]

Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.

The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie Aida, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera. Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's tragic death in a car accident in 1944.

Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.

Umm Kulthum singing around 1960

In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".

At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (Rubayyiat el Khayyam). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many^[who?] as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.

The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity. An improvisatory technique, which was typical of old classical Arabic singing, and which she wonderfully executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (maqām) each time to bring her audiences into a euphoric and ecstatic state.^{[citation needed]} For example, the available live performances (about 30) of Ya Zalemni, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.

The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25-45 minutes in duration, such as the three available renditions, including the commercial version of El Awwila Fi'l Gharam ("First in Love"), and Ana Fi Intizarak ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of Enta Omri, Enta el Hobb, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.

Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.

Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.

Legacy[link]

Monument to Umm Kulthum in Zamalek, Cairo. It is located on the site of the former house of the singer.

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2011)

Umm Kulthum has been a significant influence on a number of musicians, both in the Arab World and beyond. Among others, Jah Wobble has claimed her as a significant influence on his work. Bob Dylan has been quoted as saying, "She's great. She really is. Really great."^[5][6] Maria Callas, Jean-Paul Sartre, Marie Laforêt, Salvador Dalí, Nico, Bono, Farin Urlaub, and Led Zeppelin are also known to be admirers of Kulthum's music.^{[citation needed]} Youssou N'Dour, a fan of hers since childhood, recorded his 2004 album Egypt with an Egyptian orchestra in homage to her legacy.^[7] One of her best-known songs, "Enta Omri", has been the basis of many reinterpretations, including one 2005 collaborative project involving Israeli and Egyptian artists.

She was referred to as the Lady by Charles de Gaulle and is regarded as the Incomparable Voice by Maria Callas. Umm Kulthum is remembered in Egypt, the Middle East, and the Arab world as one of the greatest singers and musicians to have ever lived. It is difficult to accurately measure her vocal range at its peak, as most of her songs were recorded live, and she was careful not to strain her voice due to the extended length of her songs. Even today, she has retained a near-mythical status among young Egyptians. She is also notably popular in Israel among Jews (of Mizrahi/Arab background) and Arabs alike, and her records continue to sell about a million copies a year. In 2001, the Egyptian government opened the Kawkab al-Sharq (Star of the East) Museum in the singer's memory. Housed in a pavilion on the grounds of Cairo's Manesterly Palace, the collection includes a range of Umm Kulthum's personal possessions, including her trademark sunglasses and scarves, along with photographs, recordings, and other archival material.^[8]

Voice[link]

Kulthum had a contralto vocal range.^[9] Her ability and capability to sing every single Arabic scale made her one of only five women in the history of the Arab world to be able to do this, along with Asmahan, Fairouz, Sabah, and Thekra.^{[citation needed]}

Selected discography[link]

This unreferenced section requires citations to ensure verifiability.

References[link]

Sources[link]

External links[link]

Wikimedia Commons has media related to: Umm Kulthum

• Biography at Allmusic
• Umm Kulthoum at krwetatnt.net
• The Star of the East at Østfold College, Halden, Norway from almashriq.hiof.no
• List of recordings in chronological and alphabetical order from elmandjra.org

Bill Bailey
Bailey's Remarkable Guide to the Orchestra at the Royal Albert Hall in 2008
Birth name	Mark Bailey[1]
Born	(1964-01-13) 13 January 1964 (age 48)[2] Bath, Somerset, England
Years active	1989–present
Genres	Surreal humour, Musical comedy, Satire
Spouse	Kristin Bailey[3] (1998–present)
Notable works and roles	Black Books Never Mind the Buzzcocks Hot Fuzz
Website	billbailey.co.uk

Bill Bailey (born Mark Bailey;^[1] 13 January^[2] 1964) is an English comedian, musician and actor. As well as his extensive stand-up work, Bailey is well known for his role in Black Books and his appearances on Never Mind the Buzzcocks, Have I Got News for You, and QI.

Bailey was listed by the Observer as one of the 50 funniest acts in British comedy in 2003. In 2007 and again in 2010, he was voted the 7th greatest stand-up comic on Channel 4's 100 Greatest Stand-Ups.^[4]

Personal life[link]

Bailey was born in Bath, Somerset and spent most of his childhood in Keynsham, a town situated between Bath and Bristol in the West of England. His father was a medical practitioner and his mother was a hospital ward sister. His maternal grandparents lived in an annexe, built on the side of the house by his maternal grandfather who was a stonemason and builder. Two rooms at the front of the family house were for his father's surgery.^[5]

Bailey was educated at King Edward's School, an independent school in Bath^[6] where he was initially a highly academic pupil winning most of the prizes. However, at about the age of 15 years, he started to become distracted from school work when he realised the thrill of performance as a member of a school band called Behind Closed Doors, which played mostly original work. He was the only pupil at his school to study A-level music and he passed with an A grade. He also claims to have been good at sport (captain of KES 2nd XI cricket team 1982), which often surprised his teachers. He would often combine music and sport by leading the singing on the long coach trip back from away rugby fixtures. It was here that he was given his nickname Bill by his music teacher, Ian Phipps, for being able to play the song "Won't You Come Home Bill Bailey" so well on the guitar.^[5]

He started studies for an English degree at Westfield College of the University of London but left after a year.^[7]

He spent his final years listening to Monty Python records, and rehearsing with a band called the "Famous Five",^[8] who he confesses were very bad but still much better than him and who actually had six members.^[9] However, he is a classically trained musician and received an Associateship Diploma from the London College of Music as well as being made an honorary member of the Society of Crematorium Organists. Despite this, he has said that he always had the temptation to be silly with music, a trait that influences his stand-up shows.

Bailey often mythologises his early years in his stand-up. In his show Bewilderness, he claims to have attended Bovington Gurney School of Performing Arts and Owl Sanctuary. He talks about a succession of jobs he had before becoming a comedian, including lounge pianist, crematorium organist, door-to-door door-salesman and accompanist for a mind-reading dog. A clip of Bailey's appearance in the dog's routine was shown during his Room 101 appearance. He also is self-deprecating about his appearance, suggesting he is so hairy that he is part troll, or that his hair or beard is a small animal named Lionel whom he has trained to sit 'very very still.'

Bailey also talks about his role as a "Disenfranchised Owl" in an experimental Welsh theatre troupe.^[10] Other acting roles included a part in a Workers' Revolutionary Party stage production called The Printers, which also featured Vanessa Redgrave and Frances de la Tour. His trivia page on IMDb also claims that he was awarded Best Actor in the 1986 Institut Français awards.

Bailey married Kristin in 1998. An avid Star Trek fan, he named his son (born 2003) not after the Star Trek: Deep Space Nine character Dax as is often reported, but after a childhood friend,^[3] and often refers to himself as a Klingon (once claiming during his "Part Troll" tour that his ear-mounted microphone made him resemble "a wizard in a call centre" and "a Klingon motivational speaker").

He currently lives in Hammersmith and supports Queens Park Rangers.^[11] In 2010, Bailey endorsed the Labour Party in the upcoming General Election, appearing in the party's fifth party election broadcast of the 2010 campaign.^[12] He is also an outspoken feminist and supporter of the Fawcett Society.^[13][14] Bailey is a patron of International Animal Rescue and has been instrumental in the organisation's campaign to capture dancing bears.^[15][16]

Career[link]

Early stand-up[link]

Bailey began touring the country with other comedians such as Mark Lamarr. In 1984 he formed a double act, the Rubber Bishops, with Toby Longworth (a former fellow pupil at King Edward's, Bath). They achieved a certain amount of success on the club circuit, partly due to their rigorous schedule – sometimes as many as three or four gigs a night. It was here that Bailey began developing his own unique style, mixing in musical parodies with deconstructions of or variations on traditional jokes ("How many amoebas does it take to change a lightbulb? One, no two! No four! No eight..."). According to comedy folklore, after a reviewer once criticised his act for its lack of jokes, Bailey returned the following night, at Queen Margaret College, Edinburgh, to perform a set composed entirely of punchlines. Longworth left to join the RSC in 1989 and was replaced by Martin Stubbs.

Stubbs later quit to pursue a more serious career, and in 1994 Bailey performed Rock at the Edinburgh Festival Fringe with Sean Lock, a show about an ageing rockstar and his roadie, script-edited by comedy writer Jim Miller. It was later serialised for the Mark Radcliffe show on BBC Radio 1. However, the show's attendances were not impressive and on one occasion the only person in the audience was comedian Dominic Holland. Bailey almost gave up comedy to take up a telesales job.^[17]

He persevered, however, and went solo the next year with the one man show Bill Bailey's Cosmic Jam. The show was very well received and led to a recording at the Bloomsbury Theatre in London which was broadcast in 1997 on Channel 4 as a one-hour special called Bill Bailey Live. It was not until 2005 that this was released in DVD uncut and under its original title. It marked the first time that Bailey had been able to tie together his music and post-modern gags with the whimsical rambling style he is now known for.

After supporting Donna McPhail in 1995 and winning a Time Out award, he returned to Edinburgh in 1996 with a critically acclaimed show that was nominated for the Perrier Comedy Award. Amongst the other nominees was future Black Books co-star Dylan Moran, who narrowly beat him in the closest vote in the award's history.

Bailey won the Best Live Stand-Up award at the British Comedy Awards, 1999.

Television[link]

Though he didn't win the Perrier in 1996, the nomination was enough to get him noticed, and in 1998 the BBC gave him his own television show, Is It Bill Bailey?

This was not Bailey's first foray into television. His debut was on the children's TV show Motormouth in the late 1980s, playing piano for a mind-reading dog. The trick went hilariously wrong, and Bailey reminisced about the experience on the BBC show Room 101 with Paul Merton in 2000. In 1991, he was appearing in stand-up shows such as The Happening, Packing Them In, The Stand Up Show, and The Comedy Store. He also appeared as captain on two panel games, an ITV music quiz pilot called Pop Dogs, and the poorly received Channel 4 science fiction quiz show, Space Cadets. However Is it Bill Bailey? was the first time he had written and presented his own show.

With his star on the rise and gaining public recognition, over the next few years, Bailey made well received guest appearances on shows such as Have I Got News For You, World Cup Comedy, Room 101, Des O'Connor Tonight, Coast to Coast and three episodes of off-beat Channel 4 sitcom Spaced, in which he played comic-shop manager Bilbo Bagshot.

In 1998, Dylan Moran approached him with the pilot script for Black Books, a Channel 4 sitcom about a grumpy bookshop owner, his put-upon assistant, and their neurotic female friend. It was commissioned in 2000, and Bailey took the part of the assistant Manny Bianco, with Moran playing the owner Bernard, and Tamsin Greig the friend, Fran. Three series of six episodes were made, building up a large cult fanbase, providing the public awareness on which Bailey would build a successful national tour in 2001.

When Sean Hughes left his long-term role as a team captain on Never Mind the Buzzcocks in 2002, Bailey became his successor. His style quickly blended into the show, possibly helped by his background in music. He soon developed a rapport of sorts with host Mark Lamarr, who continually teased him about his looks and his pre-occupation with woodland animals. It was announced on 18 September 2008 that Bailey would be leaving the series and be replaced by a series of guest captains including Jack Dee and Dermot O'Leary.^[18] Whilst touring in 2009, Bailey joked that his main reason for leaving the show was a lack of desire to continue humming Britney Spears' "Toxic" to little known figures in the indie music scene. It was during this time that he also left his position as "curator" of the Museum of Curiosity, and declared his intention to "retire" from panel games, although he has since appeared on QI many more times and hosted Have I Got News For You.

Bailey has appeared frequently on the intellectual panel game QI since it began in 2003, appearing alongside host Stephen Fry and regular panellist Alan Davies. Other television appearances include a cameo role in Alan Davies' drama series Jonathan Creek as failing street magician Kenny Starkiss and obsessed guitar teacher in the "Holiday" episode of Sean Lock's Fifteen Storeys High. He later appeared with Lock again as a guest on his show TV Heaven, Telly Hell. He has also appeared twice on Friday Night with Jonathan Ross. Bailey also hosted his own show Comic's Choice, which aired in 2011.

Bailey also presented Wild Thing I Love You which began on Channel 4 on 15 October 2006. The series focuses on the protection of Britain's wild animals, and has included rehoming badgers, owls and water voles.

Bailey has most recently appeared in the second series of the E4 teenage "dramedy" Skins playing Maxxie's dad, Walter Oliver. In episode 1, Walter struggles with his son's desire to be a dancer, instead wishing him to become a builder, which is what he himself does for a living. Walter is married to Jackie, played by Fiona Allen.

Bailey appeared on the first episode of Grand Designs Live on 4 May 2008, helping Kevin McCloud build his eco-friendly home. In 2009 Bailey appeared in the BBC show Hustle as the character "Cyclops", a side-line character. In autumn 2009, Bailey presented Bill Bailey's Birdwatching Bonanza.^[19]

As a continuation of Bailey's recent foray into natural history, he presented ITV1's half-hour wildlife mini-series Baboons With Bill Bailey.^[20] The series was filmed in Cape Town and spanned 8 episodes, with exclusive content available on itvWILD.^[21]

Bill Bailey played Droxil, a Harvest Ranger from the Planet Androzani Major in the 2011 Christmas Special of Doctor Who, The Doctor, the Widow and the Wardrobe.

International tours[link]

Bailey in concert, 2007

In 2001, Bailey began touring the globe with Bewilderness, which became a huge success. A recording of a performance in Swansea was released on DVD the same year, and the show was broadcast on Channel 4 that Christmas. A modified version of it also proved successful in America, and in 2002 Bailey released a CD of a recording at the WestBeth Theatre in New York. The show contained all his trademarks, popular music parodies (such as Unisex Chip Shop, a Billy Bragg tribute which he actually performed with Billy Bragg at the 2005 Glastonbury Festival), "three men in a pub" jokes (including one in the style of Geoffrey Chaucer) and deconstructions of television themes such as Countdown and The Magic Roundabout. A Bewilderness CD was sold outside gigs, which was actually just a mixture of studio recordings of songs and monologues Bailey had performed in the past – it was later released in shops as Bill Bailey: The Ultimate Collection... Ever!. That same year he also presented a Channel 4 countdown, Top Ten Prog Rock.

Bailey premiered his show Part Troll at the 2003 Edinburgh Festival Fringe. A critical and commercial success, he then transferred it to the West End where tickets sold out in under 24 hours, and new dates had to be added. Since then he has toured it all over the UK as well as in America, Australia and New Zealand. The show marked the first time Bailey had really tackled political material, as he expanded on subjects such as the war on Iraq, which he had only touched upon before in his Bewilderness New York show. He also talks extensively on drugs, at one point asking the audience to name different ways of baking cannabis. A DVD was released in 2004.

2005 finally saw the release of his 1995 show Bill Bailey's Cosmic Jam. The 2-disc set also contained a director's cut of Bewilderness, which featured a routine on Stephen Hawking's A Brief History of Time not seen in the original version.

Bailey performed at show at the 2006 Edinburgh Festival Fringe entitled Steampunk. It looked set to become the fastest selling fringe show ever (beating the record Bailey set with The Odd Couple in 2005). But a ticketing mix-up forced the last 10% of tickets to be purchased in person from the venue rather than pre-booked, meaning the venue filled at a slower overall rate than it should have.

Bailey appeared at the Beautiful Days festival in August 2007. The UK leg of the Tinselworm tour enjoyed 3 sell-out nights at the MEN Arena in Manchester, Europe's largest indoor arena, and culminated with a sell-out performance at Wembley Arena.

Early in 2007, a petition was started to express fans' wishes to see him cast as a dwarf in the 2010 film The Hobbit, after his stand-up routine mentioned auditioning for Gimli in The Lord of the Rings. The petition reached its goal in the early days of January, and was sent to the producers. It was hoped that as the Tinselworm tour took him to Wellington in New Zealand where the film is in pre-production, that he would be able to audition.^[22]

Bill Bailey's most recent tour, titled Dandelion Mind, was released on DVD on 22 November 2010.

Other appearances[link]

2000[link]

• A small role in British comedy film Saving Grace

2001[link]

• 19 July: Panelist in Radio 4's show The 99p Challenge

2002[link]

• Voice for a BMW Mini advertising campaign
• Writer and performer for a series of British Airways adverts in which, through the use of music, he took a humorous look at several locations around the world
• Guest panellist on BBC Radio show I'm Sorry I Haven't a Clue

2003[link]

• Juror No. 4 in Twelve Angry Men, directed by Guy Masterson for the 2003 Edinburgh Festival Fringe
• Panelist on Radio 4's show Just a Minute (twice)
• 4 February: Panelist (for a second time) on Radio 4's show The 99p Challenge
• 21 October: Presented Good Vibrations: The History of the Theremin on Radio 4

2004[link]

• 24 October: appeared on Top Gear's Star in a Reasonably Priced Car. He finished with a time of 1:53.4 in the Suzuki Liana.

2005[link]

• Voice of the sperm whale in the 2005 film The Hitchhiker's Guide to the Galaxy
• Co-starred as Oscar in The Odd Couple (alongside Alan Davies), directed by Guy Masterson for the 2005 Edinburgh Festival Fringe
• One of the acts in the Birmingham show Jasper Carrott's Rock with Laughter, alongside other performers including Bonnie Tyler, Lenny Henry, Bobby Davro and the Lord of the Dance troupe
• Returned to Radio 4's Just a Minute for a third show as a panellist

2006[link]

• 15 March: Interviewed by Lenny Henry for BBC Radio 4 show Chain Reaction
• 22 March: Returned to Chain Reaction to interview Simon Pegg

2007[link]

• A minor part in Simon Pegg's and Edgar Wright's film Hot Fuzz, as a pair of desk sergeant twins. (Bailey had originally meant to also appear in Pegg and Wright's earlier film, Shaun of the Dead. but the commentary included with the DVD of that movie explains that he was busy with other commitments at the time.)
• February: Organised, produced, and starred in West End show Pinter's People, a collection of sketches by playwright Harold Pinter. The show also starred Kevin Eldon, Sally Phillips and Geraldine McNulty
• March: Appeared at the International Human Beatbox Convention at the Southbank Centre in London, introducing Shlomo to the stage for the climax of the concert, as well as showing off his own beatboxing
• 4 May: Guest presenter for an episode of BBC One's Have I Got News for You (a role he returned to on 9 May 2008)
• July: Narrator for Nessy Tales, a series of animated reading books for dyslexic children

2008[link]

• Guest on BBC Radio 4's Desert Island Discs
• February: Co-host of the first series of BBC Radio 4's panel show The Museum of Curiosity
• 9 May: Guest presenter for an episode of BBC One's Have I Got News for You
• 9 June: Guest on Radio 4's Desert Island Discs.^[5] Later that day, appeared as Rushton in the first episode of an adaptation of The Ragged Trousered Philanthropists on the same station
• 7 September: Guest on live Australian TV show Rove.^[23] In a questionnaire to win in 20 seconds, host Rove McManus asked his usual question, "Who would you turn gay for?". Bailey replied, "The pope"
• September: One of the hosts of the So You Think You're Funny comedy gala at the Edinburgh Festival Fringe^[24]
• 11 October: Guest on BBC Radio 4's Loose Ends
• 12 November: Performed for We Are Most Amused, a special comedy performance to celebrate the 60th birthday of Prince Charles

2010[link]

• 30 March: took part in Channel 4's Comedy Gala, a benefit show held in aid of Great Ormond Street Children's Hospital, filmed live at the O2 Arena in London.
• 27 June: appeared on Top Gear's Star in a Reasonably Priced Car, while impersonating Angelina Jolie. He finished with a time of 1:50.8 in the Kia Cee'd.
• 28 September: the first guest on new ABC TV conversation program A Quiet Word With ....^[25]

Music[link]

Bailey is a talented pianist and guitarist, and has perfect pitch; of this he has said

"Perfect pitch ... occurs entirely at random in about one in every 10,000 of us, and I'm one of them. From as early as I can remember, I was able to pick out the pitch of things, not just instruments but washing machines, vacuum cleaners, dentists' drills."^[26]

His stand-up routines often feature music from genres such as jazz, rock (most notably prog rock from the early seventies), drum'n'bass, rave, classical, and even theme songs, usually for comic value. Favourite instruments include the keyboard, guitar, theremin, kazoo and bongos. He also mentioned in an interview that he has achieved Grade 6 Clarinet. He was part of punk band Beergut 100,^[27] which he founded in 1995 with comedy writer Jim Miller and also featured Martin Trenaman and Phil Whelans, with Kevin Eldon as lead singer.^[28] The band performed at the 2006 Edinburgh Festival Fringe.^[29] Trenaman and Welans had previously appeared in Cosmic Jam under the name "The Stan Ellis Experiment", and Trenaman and Eldon later featured with John Moloney in the Kraftwerk homage "Das Hokey Kokey" on the Part Troll tour. Bailey claims that he and the three other performers are a Kraftwerk tribute band called Augenblick. To mark the final gig of the Part Troll tour on 1 January 2005 the band reappeared on stage after the "Das Hokey Kokey" joke to play an hour-long encore of music.

In February 2007, Bailey appeared on two occasions with the BBC Concert Orchestra and Anne Dudley in a show entitled Cosmic Shindig. Performed in the Colosseum in Watford on 24 February and in the Queen Elizabeth Hall on 26 February, the show contained orchestrally accompanied versions of many of Bailey's previously performed songs, an exploration of the instruments of the orchestra and a number of new pieces of music. The Queen Elizabeth Hall performance was aired on BBC Radio 3 on 16 March 2007 as a part of Comic Relief 2007.

Bailey had planned to put himself forward as Britain's Eurovision entry in 2008, as a result of several fan petitions encouraging him to do so.^[30]

In October 2008 he performed Bill Bailey's Remarkable Guide to the Orchestra at the Royal Albert Hall with the BBC Concert Orchestra, conducted by Anne Dudley.^[31]

In 2009, Bailey presented a project about the explorer and naturalist Alfred Russel Wallace, in the form of an Indonesian travelogue.^[32] Bailey said in an interview that Wallace had been "airbrushed out of history", and that he feels a "real affinity" with him.

In November 2009 he was a guest on Private Passions, the biographical music discussion programme on BBC Radio 3.^[33]

In July 2011, Bailey performed at the Sonisphere Festival in Knebworth, headlining the Saturn Stage.^[34] He released an album, In Metal, using songs played at Sonisphere, later that year.

Tours[link]

• Cosmic Jam (1995)
• Bewilderness (2001)
• Part Troll (2004)
• Steampunk (2006) (Edinburgh Festival)
• Tinselworm (2008)
• Bill Bailey Live (2008–09) (Theatre tour with some material from Tinselworm, but mostly new material)
• Remarkable Guide to the Orchestra (2009)
• Dandelion Mind (2010)
• Dandelion Mind – Gently Modified (2011)

DVD releases[link]

Filmography[link]

• The James Whale Radio Show (TV series) (circa 1990) (Guest)
• Blue Heaven (Channel 4 TV series) (1994)
• Asylum (1996)
• Space Cadets (1997) (Regular team captain)
• Is It Bill Bailey? (1998)
• Spaced (1999–2001)
• Have I Got News for You (guest 1999, 2001, 2005; guest presenter 2007, 2008, 2009, 2011)
• Saving Grace (2000)
• Maid Marian and her Merry Men (1992). Cameo court jester to King John
• Black Books (2000–2004)
• Jonathan Creek
  • "Satan's Chimney" (2001)
  • "The Tailor's Dummy" (2003)
• Wild West (2002–2004)
• Never Mind the Buzzcocks (2002–2008) (Regular team captain)
• QI (2003–present) (Frequent guest)
• "15 Storeys High" – "The Holiday" (2004)
• The Hitchhiker's Guide to the Galaxy (2005) (Voice of the Sperm Whale)^[35]
• The Libertine (Small cameo role as advisor to Charles II of England).
• Wild Thing I Love You (2006) (Presenter)
• Top Gear (A Star in a Reasonably-Priced Car)
• Hot Fuzz (2007)
• Run Fatboy Run (2007) (Cameo)
• Skins (2008)
• Love Soup (2008)
• We Are Most Amused (2008) (One-off special)
• Hustle (as 'Cyclops')
  • "Return of the Prodigal" (2009)
  • "Diamond Seeker" (2009)
  • "Picasso Finger Painting" (2012)
• Steve's World (2009)
• Burke and Hare (2010)
• Bill Bailey's Bird Watching Bonanza (2010)
• Nanny McPhee and the Big Bang (2010)
• Talkin' 'bout Your Generation (2010); one episode
• Jo Brand's Big Splash (2011); one episode
• Chalet Girl (2011)^[36]
• Doctor Who – The Doctor, the Widow and the Wardrobe (2011)^[37]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Bill Bailey

Wikimedia Commons has media related to: Bill Bailey

• Official website
• Bill Bailey at the Internet Movie Database
• Bill Bailey discography at Discogs
• Bill Bailey at the British Film Institute's Screenonline.
• Bill Bailey on Chortle.