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- Ahmose I
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- Alan Gardiner
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- Amasis II
- Amenemhat I
- Amenemhat II
- Amenemhat III
- Amenemhat IV
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- Amenemnisu
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Abydos, Egypt
http://wn.com/Abydos_Egypt -
Saqqara
Saqqara (or Sakkara, Saqqarah; ) is a vast, ancient burial ground in Egypt, serving as the necropolis for the Ancient Egyptian capital, Memphis. Saqqara features numerous pyramids, including the world famous Step pyramid of Djoser, sometimes referred to as the Step Tomb due to its rectangular base, as well as a number of mastabas. Located some 30 km south of modern-day Cairo, Saqqara covers an area of around 7 km by 1.5 km.
http://wn.com/Saqqara -
Sekhemkhet
Sekhemkhet was a Pharaoh in Egypt during the Third dynasty. According to the Manethonian tradition, a king known as Tyris (which may be compared to the Turin Canon's "Djoser-ti") reigned for a relatively brief period of seven years, and modern scholars believe Djoserty and Sekhemkhet are the same person. While the Turin Canon gives Sekhemkhet a reign of 6 years.[http://www.narmer.pl/dyn/03en.htm], Toby Wilkinson's reconstruction of the Dynasty 5 Palermo Stone Annal document assigns a reign of 7 years to this king based on the number of year register preserved for him in Cairo Fragment One, register V. Wilkinson states that "''this figure is fairly certain, since the [king's] titulary begins immediately after the dividing line marking the change of reign''." Hence, the Manethonian tradition appears to be correct. His reign is thought to have been from about 2648 BC until 2640 BC. Sekhemkhet's name means "Powerful in Body."
http://wn.com/Sekhemkhet
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Ahmose I
:See Amasis II for the 26th Dynasty pharaoh whose name sometimes appears as Ahmose II.
http://wn.com/Ahmose_I -
Akhenaten
Akhenaten (; often also spelled Echnaton, Akhnaton, or rarely Ikhnaton; meaning Effective spirit of Aten) was known before the fifth year of his reign as Amenhotep IV (sometimes given its Greek form, Amenophis IV, and meaning Amun is Satisfied), a Pharaoh of the Eighteenth dynasty of Egypt, ruled for 17 years and died in 1336 BC or 1334 BC. He is especially noted for abandoning traditional Egyptian polytheism and introducing worship centered on the Aten, which is sometimes described as monotheistic or henotheistic. An early inscription likens him to the sun as compared to stars, and later official language avoids calling the Aten a god, giving the solar deity a status above mere gods.
http://wn.com/Akhenaten -
Alan Gardiner
http://wn.com/Alan_Gardiner -
Alexander the Great
http://wn.com/Alexander_the_Great -
Amasis II
Amasis II (also Ahmose II) was a pharaoh (570 BC - 526 BC) of the Twenty-sixth dynasty of Egypt, the successor of Apries at Sais. He was the last great ruler of Egypt before the Persian conquest.
http://wn.com/Amasis_II -
Amenemhat III
Amenemhat III, also spelled Amenemhet III was a pharaoh of the Twelfth Dynasty of Egypt. He ruled from c.1860 BC to c.1814 BC, the latest known date being found in a papyrus dated to Regnal Year 46, I Akhet 22 of his rule. He is regarded as the greatest monarch of the Middle Kingdom. He may have had a long coregency (of 20 years) with his father, Senusret III.
http://wn.com/Amenemhat_III -
Amenhotep I
Amenhotep I (sometimes read as Amenophis I and meaning "Amun is satisfied") was the second Pharaoh of the 18th dynasty of Egypt. His reign is generally dated from 1526 to 1506 BC. He was born to Ahmose I and Ahmose-Nefertari, but had at least two elder brothers, Ahmose-ankh and Ahmose Sapair, and was not expected to inherit the throne. However, sometime in the eight years between Ahmose I's 17th regnal year and his death, his heir apparent died and Amenhotep became crown prince. He then acceded to the throne and ruled for about 21 years.
http://wn.com/Amenhotep_I -
Amenhotep II
Amenhotep II (sometimes read as Amenophis II and meaning Amun is Satisfied) was the seventh Pharaoh of the 18th dynasty of Egypt. Amenhotep inherited a vast kingdom from his father Thutmose III, and held it by means of a few military campaigns in Syria; however, he fought much less than his father, and his reign saw the effective cessation of hostilities between Egypt and Mitanni, the major kingdoms vying for power in Syria. His reign is usually dated from 1427 to 1400 BC.
http://wn.com/Amenhotep_II -
Amenhotep III
http://wn.com/Amenhotep_III -
Amenhotep IV
http://wn.com/Amenhotep_IV -
Amyrtaeus
Amyrtaeus (or Amenirdisu) of Sais is the only king of the Twenty-eighth dynasty of Egypt and is thought to be related to the royal family of the Twenty-sixth dynasty. He ended the First Persian Occupation and reigned from 404 BC to 399 BC.
http://wn.com/Amyrtaeus -
Arses of Persia
http://wn.com/Arses_of_Persia -
Artaxerxes III
Artaxerxes III of Persia (Ca. 425 BC – 338 BC) (Old Persian:
http://wn.com/Artaxerxes_III -
Ay
http://wn.com/Ay -
Bakenranef
Bakenranef, known by the ancient Greeks as Bocchoris, was briefly a king of the Twenty-fourth dynasty of Egypt. Based at Sais in the western Delta, he ruled Lower Egypt from c. 725 to 720 BC. Though the Ptolemaic period Egyptian historian Manetho considers him the sole member of the Twenty-fourth dynasty, modern scholars include his father Tefnakht in that dynasty. Although Sextus Julius Africanus quotes Manetho as stating that "Bocchoris" ruled for six years, some modern scholars again differ and assign him a shorter reign of only five years, based on evidence from an Apis Bull burial stela. It establishes that Bakenranef's reign ended only at the start of his 6th regnal year which, under the Egyptian dating system, means he had a reign of 5 full years. Bakenranef's prenomen or royal name, Wahkare, means "Constant is the Spirit of Re" in Egyptian.
http://wn.com/Bakenranef -
Bob Brier
Robert Brier (born December 13, 1943), also known as Mr. Mummy, is an American Egyptologist specializing in paleopathology. A Senior Research Fellow at the C.W. Post Campus of Long Island University, he has researched and published on mummies and the mummification process and has appeared in many Discovery Civilization documentaries, primarily on ancient Egypt.
http://wn.com/Bob_Brier -
Caesarion
http://wn.com/Caesarion -
Cambyses II
http://wn.com/Cambyses_II -
Cleopatra VII
http://wn.com/Cleopatra_VII -
Darius I
http://wn.com/Darius_I -
Darius II of Persia
http://wn.com/Darius_II_of_Persia -
Darius III of Persia
http://wn.com/Darius_III_of_Persia -
Djedkare Isesi
Djedkare Isesi in Greek known as Tancheres from Manetho's Aegyptiaca, was a Pharaoh of Egypt during the Fifth dynasty. He is assigned a reign of twenty-eight years by the Turin Canon although some Egyptologists believe this is an error and should rather be thirty-eight years. Manetho ascribes to him a reign of forty-four years while the archaeological evidence suggests that his reign is likely to have exceeded thirty-two years.
http://wn.com/Djedkare_Isesi -
Djer
Djer was the second or third pharaoh of the first dynasty of Egypt, which dates from approximately 3100 B.C. Some scholars, however, debate whether the first pharaoh, Menes or Narmer, and Hor-Aha might have been different rulers. If they were separate rulers, this would make Djer the third pharaoh in the dynasty. A mummified wrist of Djer or his wife was discovered, but has been lost.
http://wn.com/Djer -
Hakor
Hakor, or Akoris, was the Pharaoh of Egypt from 393 BC to 380 BC. Hakor overthrew his predecessor Psammuthes and falsely proclaimed himself to be the grandson of Nepherites I, founder of the 29th Dynasty, on his monuments in order to legitimise his kingship. While Hakor ruled Egypt for only 13 years, his reign is important for the enormous number of buildings which he constructed and for his extensive restoration work on the monuments of his royal predecessors.
http://wn.com/Hakor -
Hatshepsut
:For other Egyptian ladies called Maatkare see Maatkare
http://wn.com/Hatshepsut -
Hor-Aha
Hor-Aha (or Aha) is considered the second pharaoh of the first dynasty of ancient Egypt in current Egyptology. He lived around the thirty-first century BC.
http://wn.com/Hor-Aha -
Horemheb
Horemheb (sometimes spelled Horemhab or Haremhab and meaning Horus is in Jubilation) was the last Pharaoh of the 18th Dynasty from 1319 BC to late 1292 BC, although he was not related to the preceding royal family and is believed to have been of common birth.
http://wn.com/Horemheb -
Hsekiu
Hsekiu , also Seka, was a Predynastic ancient Egyptian king who ruled in the Nile Delta . He is mentioned in the Palermo Stone inscriptions among a small number of kings of Lower Egypt
http://wn.com/Hsekiu -
Huni
Huni was the last Pharaoh of Egypt of the Third dynasty. He was the successor to Khaba.
http://wn.com/Huni -
Iry-Hor
Iry-Hor or Ro (as read by Petrie) was a Predynastic pharaoh of ancient Egypt, although some archaeologists are doubtful of his existence. He was most likely Ka's immediate predecessor. He ruled over Abydos and was buried in its local cemetery at Umm el-Qa'ab near Ka, Narmer and the First Dynasty kings.
http://wn.com/Iry-Hor -
Iuput II
Iuput II (also spelled Yuput II) was a ruler of Leontopolis in the Egyptian Delta region of Lower Egypt who existed during the late Third Intermediate Period. He was an ally of Tefnakht of Sais who resisted the invasion of Lower Egypt by the Kushite king Piye. Iuput II ruled during a chaotic time of the Late Intermediate Period when several kings controlled Lower Egypt including Osorkon IV at Bubastis and prince Tefnakht at Sais. Year 21 of Iuput II is attested on a stela from Mendes. The respected English Egyptologist Kenneth Kitchen states that this dated stela which features Smendes, the son of Harnakht and ruler of Mendes, bears Iuput's name but lacks his royal name or prenomen. However, the clear Lower Egyptian provenance of the stela can be associated with several monuments that name "a king Usimare Setepenamun (var. Setepenre], Iuput Si-Bast, from the Delta" which means Iuput II's throne name was Usimare. The Year 21 stela of Iuput II was fully published in 1982.
http://wn.com/Iuput_II -
Ka (pharaoh)
Ka, also Sekhem Ka or Ka-Sekhen, was a Predynastic pharaoh of Upper Egypt.
http://wn.com/Ka_(pharaoh) -
Khasekhemwy
Khasekhemwy (d. 2686 BC; sometimes spelled Khasekhemui) was the fifth and final king of the Second dynasty of Egypt. Little is known of Khasekhemwy, other than that he led several significant military campaigns and built several monuments, still extant, mentioning war against the Northerners. His name means "The Two Powerful Ones Appear."
http://wn.com/Khasekhemwy -
Khayu
http://wn.com/Khayu -
Khufu
Khufu ( in English), also known in as Cheops ( ; , Kheops) or, in Manetho, Suphis ( ; , Souphis), was a Pharaoh of Ancient Egypt's Old Kingdom. He reigned from around 2589 to 2566 B.C. Khufu was the second pharaoh of the Fourth Dynasty. He is generally accepted as being the builder of the Great Pyramid of Giza, one of the Seven Wonders of the Ancient World. Khufu's full name was "Khnum-Khufu" which means "the god Khnum protects me."
http://wn.com/Khufu -
Khyan
Seuserenre Khyan, Khian or Khayan was reportedly the fourth king of the Hyksos Fifteenth dynasty of Egypt who ruled approximately c.1610-1580 BC The Danish Egyptologist, Kim Ryholt, who published an extensive catalogue of the monuments of all the numerous pharaohs of the Second Intermediate Period notes an important personal detail regarding this king's family. He states that:
http://wn.com/Khyan -
Menkauhor Kaiu
Menkauhor Kaiu, (in Greek known as Menkeris), was a Pharaoh of the Fifth dynasty during the Old Kingdom.
http://wn.com/Menkauhor_Kaiu -
Menkaure
http://wn.com/Menkaure -
Mentuhotep I
Mentuhotep I was a local Egyptian prince at Thebes during the First Intermediate Period. He became the first openly acknowledged ruler of the Eleventh dynasty by assuming the title of first "supreme chief of Upper Egypt" and, later, declaring himself king over all Egypt. He is named as a nomarch in Thutmose III's royal list of the 'Hall of Ancestors' monument at Karnak. He was also the father of Intef I, his successor.
http://wn.com/Mentuhotep_I -
Mentuhotep II
Nebhepetre Mentuhotep II (2061 BC – 2010 BC) was a Pharaoh of the 11th dynasty, the son of Intef III of Egypt and a minor queen called Iah. His own wife was the 'king's mother' Tem. Other wives were Neferu (his sister) and several secondary wives, one or more who it has been suggested were possibly Nubian, buried in his funerary complex. His only known son was Mentuhotep III.
http://wn.com/Mentuhotep_II -
Merenre Nemtyemsaf I
Merenre Nemtyemsaf I (reigned 2283-2278 BC) was the fourth king of the Sixth dynasty of Egypt. His nomen, theophorically referring to Nemty, was formerly read as Antyemsaf, a reading now known to be incorrect.
http://wn.com/Merenre_Nemtyemsaf_I -
Merikare
Merikare (also Merykare and Merykara) was a pharaoh in the Ninth or Tenth dynasty of Egypt, during the First Intermediate Period in about 2075 BC. His name is not mentioned in the Turin King List, also his dates are uncertain.
http://wn.com/Merikare -
Necho II
Necho II (sometimes Nekau) was a king of the Twenty-sixth dynasty of Egypt (610 BCE - 595 BCE).
http://wn.com/Necho_II -
Nectanebo II
Nectanebo II (ruled 360 - 343 BC), also known by the name Nakhthoreb, was the third and last king of the Thirtieth dynasty of Egypt and also the last native Egyptian ruler of the country in antiquity.
http://wn.com/Nectanebo_II -
Neferirkare Kakai
Neferirkare Kakai was the third Pharaoh of Egypt during the Fifth dynasty. His prenomen, Neferirkare, means "Beautiful is the Soul of Ra." His Horus name was Userkhau, his Golden Horus name Sekhemunebu and his Nebti name Khaiemnebty.
http://wn.com/Neferirkare_Kakai -
Neheb
http://wn.com/Neheb -
Nynetjer
Nynetjer or Ninetjer was the third king of the Second dynasty of Egypt. His name translates as "Godlike" in English. It is possible that Nynetjer was a son of Raneb.
http://wn.com/Nynetjer -
Pepi I Meryre
http://wn.com/Pepi_I_Meryre -
Pepi II Neferkare
Pepi II (reigned c. 2278 BC – c. 2184 BC)Clayton, Peter A. Chronicle of the Pharaohs: The Reign-by-Reign Record of the Rulers and Dynasties of Ancient Egypt. p.64. Thames & Hudson. 2006. ISBN 0-500-28628-0 was a pharaoh of the Sixth dynasty in Egypt's Old Kingdom. His throne name, Neferkare (Nefer-ka-Re), means "Beautiful is the Ka of Re". He succeeded to the throne at age six, after the death of Merenre I, and is generally credited with having the longest reign of any monarch in history at 94 years (c. 2278 BC – c. 2184 BC) although this figure has been disputed by some Egyptologists who favour a shorter reign of not much more than 64 years. This is based on the complete absence of higher attested dates for Pepi beyond his Year after the 31st Count (Year 62 on a biannual cattle count).
http://wn.com/Pepi_II_Neferkare -
Pharaoh
http://wn.com/Pharaoh -
Piye
Piye, () (whose name was once transliterated as Piankhi the Nubian) (d. 721 BC) was a Kushite king and founder of the Twenty-fifth dynasty of Egypt who ruled Egypt from the city of Napata, located deep in Nubia, Sudan. His predecessor as king of Kush, Kashta, almost certainly exercised a strong degree of influence over Thebes prior to Piye's accession because Kashta managed to have his daughter, Amenirdis I, adopted as the Heiress to the serving God's Wife of Amun, Shepenupet I, before the end of his reign.
http://wn.com/Piye -
Psamtik I
http://wn.com/Psamtik_I -
Psamtik III
Psamtik III (also spelled Psammetichus or Psammeticus) was the last Pharaoh of the Twenty-sixth Dynasty of Egypt from 526 BC – 525 BC. Most of what we know about his reign and life was documented by the Greek historian Herodotus in the 5th century. Herodotus states that Psamtik had ruled Egypt for only six months before he was confronted by a Persian invasion of his country led by King Cambyses II of Persia. Psammetichus was subsequently defeated at Pelusium, and fled to Memphis where he was captured. The deposed pharaoh was carried off to Susa in chains, and later executed.
http://wn.com/Psamtik_III -
Ptolemy I Soter
:For the astronomer, see Ptolemy; for others named "Ptolemy" or "Ptolemaeus", see Ptolemy (disambiguation).
http://wn.com/Ptolemy_I_Soter -
Ptolemy V Epiphanes
http://wn.com/Ptolemy_V_Epiphanes -
Ptolemy XII Auletes
http://wn.com/Ptolemy_XII_Auletes -
Ramesses I
Menpehtyre Ramesses I (traditional English: Ramesses or Ramses) was the founding Pharaoh of Ancient Egypt's 19th dynasty. The dates for his short reign are not completely known but the time-line of late 1292-1290 BC is frequently cited as well as 1295-1294 BC. While Ramesses I was the founder of the 19th Dynasty, in reality his brief reign marked the transition between the reign of Horemheb who had stabilised Egypt and the rule of the powerful Pharaohs of this dynasty, in particular his son Seti I and grandson Ramesses II, who would bring Egypt up to new heights of imperial power.
http://wn.com/Ramesses_I -
Ramesses III
Usimare Ramesses III (also written Ramses and Rameses) was the second Pharaoh of the Twentieth Dynasty and is considered to be the last great New Kingdom king to wield any substantial authority over Egypt. He was the son of Setnakhte and Queen Tiy-merenese. Ramesses III is believed to have reigned from March 1186 to April 1155 BC. This is based on his known accession date of I Shemu day 26 and his death on Year 32 III Shemu day 15, for a reign of 31 years, 1 month and 19 days. (Alternate dates for this king are 1187 to 1156 BC).
http://wn.com/Ramesses_III -
Ramesses IV
Heqamaatre Ramesses IV (also written Ramses or Rameses) was the third pharaoh of the Twentieth Dynasty of the New Kingdom of Ancient Egypt. His name prior to assuming the crown was Amonhirkhopshef. He was the fifth son of Ramesses III and was appointed to the position of crown prince by the twenty-second year of his father's reign when all four of his elder brothers predeceased him. His promotion to crown prince:
http://wn.com/Ramesses_IV -
Ramesses IX
http://wn.com/Ramesses_IX -
Ramesses V
Usermare Sekhepenre Ramesses V (also written Ramses and Rameses) was the fourth pharaoh of the Twentieth dynasty of Egypt and was the son of Ramesses IV and Queen Duatentopet.
http://wn.com/Ramesses_V -
Ramesses VI
Ramesses VI (also written Ramses and Rameses) was the fifth ruler of the Twentieth dynasty of Egypt who reigned from 1145 BC to 1137 BC and a son of Ramesses III by Iset Ta-Hemdjert. His royal tomb, KV9, is located near Tutankhamun's tomb in the Valley of the Kings.
http://wn.com/Ramesses_VI -
Ramesses VII
Usermaatre Meryamun Setepenre Ramesses VII (also written Ramses and Rameses) was the sixth pharaoh of the 20th dynasty of Ancient Egypt. He reigned from about 1136 to 1129 BC and was the son of Ramesses VI. Other dates for his reign are 1138-1131 BC. The Turin Accounting Papyrus 1907+1908 is dated to Year 7 of his reign and states that 11 full years passed from Year 5 of Ramesses VI to Year 7 of his reign.
http://wn.com/Ramesses_VII -
Ramesses VIII
Usermare Akhenamun Ramesses VIII (also written Ramses and Rameses) or Ramesses Sethherkhepshef Meryamun ('Set is his Strength, beloved of Amun') (at 1130-1129 BC, or simply 1130 BC as Krauss and Warburton date his reign), was the seventh Pharaoh of the Twentieth Dynasty of the New Kingdom of Ancient Egypt and was one of the last surviving sons of Ramesses III.
http://wn.com/Ramesses_VIII -
Ramesses X
Khepermare Ramesses X (also written Ramses and Rameses) (ruled c. 1111 BC – 1107 BC) was the ninth ruler of the 20th dynasty of Ancient Egypt. His birth name was Amonhirkhepeshef. It is uncertain if his reign was 3 or 4 Years, but there is now a strong consensus among Egyptologists that it did not last as long as 9 Years, as was previously assumed. His prenomen or throne name, Khepermaatre, means "The Justice of Re Abides." He was possibly a son of Ramesses IX and husband of Tyti, but this is unproven. The English Egyptologist Aidan Dodson states:
http://wn.com/Ramesses_X -
Ramesses XI
http://wn.com/Ramesses_XI -
Sanakht
Sanakht(e), generally identified with the Nebka of much later king lists, was probably either the first or second pharaoh of the Third Dynasty of Ancient Egypt. The dates assigned to his reign by Shaw are ca. 2686-2667 BC; for various conjectures of other scholars, see the [http://www.narmer.pl/dyn/03en.htm Ancient Egypt History and Chronology]. Sanakht's name means strong protection.
http://wn.com/Sanakht -
Sekhemkhet
Sekhemkhet was a Pharaoh in Egypt during the Third dynasty. According to the Manethonian tradition, a king known as Tyris (which may be compared to the Turin Canon's "Djoser-ti") reigned for a relatively brief period of seven years, and modern scholars believe Djoserty and Sekhemkhet are the same person. While the Turin Canon gives Sekhemkhet a reign of 6 years.[http://www.narmer.pl/dyn/03en.htm], Toby Wilkinson's reconstruction of the Dynasty 5 Palermo Stone Annal document assigns a reign of 7 years to this king based on the number of year register preserved for him in Cairo Fragment One, register V. Wilkinson states that "''this figure is fairly certain, since the [king's] titulary begins immediately after the dividing line marking the change of reign''." Hence, the Manethonian tradition appears to be correct. His reign is thought to have been from about 2648 BC until 2640 BC. Sekhemkhet's name means "Powerful in Body."
http://wn.com/Sekhemkhet -
Semerkhet
Semerkhet was the sixth king of Ancient Egypt's First Dynasty who ruled around 2950 BC. Although little is known of his reign, Semerkhet seems to have had a difficult time as king judging by the records of Manetho. Semerkhet's name means "Thoughtful Friend."
http://wn.com/Semerkhet -
Seti II
Seti II (or Sethos II), was the fifth ruler of the Nineteenth dynasty of Egypt and reigned from 1203 BC - 1197 BC. His throne name, Userkheperure Setepenre, meant "Powerful are the Manifestations of Re, Chosen by Re.' He was the son of Merneptah and wife Isisnofret and sat on the throne during a period known for dynastic intrigue and short reigns, and his rule was no different. Seti II had to deal with many serious plots, most significantly being the accession of a rival king named Amenmesse, possibly a half brother, who seized control over Thebes and Nubia in Upper Egypt during his second to fourth regnal years.
http://wn.com/Seti_II -
Shabaka
Shabaka (Shabataka) or Shabaka Neferkare, 'Beautiful is the Soul of Re', was a Kushite pharaoh of the Twenty-fifth dynasty of Egypt, between (721 BC; 707/706 BC).
http://wn.com/Shabaka -
Shebitku
Shebitku (or Shabatka) was the third king of the Twenty-fifth dynasty of Egypt who ruled from (707/706 BC-690 BC) according to Dan'el Kahn's most recent academic research. He was the nephew and successor of Shabaka. He was a son of Piye, the founder of this dynasty. Shebitku's prenomen or throne name, Djedkare, means "Enduring is the Soul of Re."
http://wn.com/Shebitku -
Shepseskaf
http://wn.com/Shepseskaf -
Sheshonk III
King Usermaatre Setepenre or Usimare Setepenamun Shoshenq III ruled Egypt's 22nd Dynasty for 39 years according to contemporary historical records. Two Apis Bulls were buried in the fourth and 28th years of his reign and he celebrated his Heb Sed Jubilee in his regnal year 30. Little is known of the precise basis for his successful claim to the throne since he was not a son of Osorkon II and Shoshenq's parentage and family ties are unknown.
http://wn.com/Sheshonk_III -
Sobekemsaf II
http://wn.com/Sobekemsaf_II -
Sobekhotep IV
Khaneferre Sobekhotep IV was one of the most powerful Egyptian kings of the 13th Dynasty. He was the son of the 'god's father' Haankhef and of the 'king's mother' Kemi. His brother, Neferhotep I, was his predecessor on the throne.
http://wn.com/Sobekhotep_IV -
Sobekneferu
Sobekneferu (sometimes written "Neferusobek") was an Egyptian pharaoh of the twelfth dynasty. Her name meant "the beauty of Sobek." She was the daughter of Pharaoh Amenemhat III. Manetho states she also was the sister of Amenemhat IV, but this claim is unproven. Sobekneferu had an older sister named Nefruptah who may have been the intended heir. Neferuptah's name was enclosed in a cartouche and she had her own pyramid at Hawara. Neferuptah died at an early age however.
http://wn.com/Sobekneferu -
Tantamani
Tantamani (Assyrian pronunciation, identical to Tandaname) or Tanwetamani (Egyptian) or Tementhes (Greek) (d. 653 BC) was king of Egypt (664 BC to 656 BC), and a member of the Nubian or Twenty-fifth dynasty of Egypt. His prenomen or royal name was Bakare which means "Glorious is the Soul of Re."
http://wn.com/Tantamani -
Tefnakht
http://wn.com/Tefnakht -
Teti
Teti, less commonly known as Othoes, was the first Pharaoh of the Sixth dynasty of Egypt and is buried at Saqqara. The exact length of his reign has been destroyed on the Turin King List, but is believed to have been about 12 years.
http://wn.com/Teti -
Thesh
Thesh, or Tjesh, Tesh etc, was a Predynastic ancient Egyptian king who ruled in the Nile Delta . He is mentioned in the Palermo Stone inscriptions among a small number of kings of Lower Egypt
http://wn.com/Thesh -
Thutmose I
Thutmose I (sometimes read as Thothmes, Thutmosis or Tuthmosis I) was the third Pharaoh of the 18th dynasty of Egypt. He was given the throne after the death of the previous king Amenhotep I. During his reign, he campaigned deep into the Levant and Nubia, pushing the borders of Egypt further than ever before. He also built many temples in Egypt and built a tomb for himself in the Valley of the Kings; he is the first king confirmed to have done this (though Amenhotep I may have preceded him). He was succeeded by his son Thutmose II, who in turn was succeeded by Thutmose II's sister, Hatshepsut. His reign is generally dated from 1506 to 1493 BCE.
http://wn.com/Thutmose_I -
Thutmose III
Thutmose III (sometimes read as Thutmosis or Tuthmosis III and meaning Son of Thoth) was the sixth Pharaoh of the Eighteenth Dynasty. During the first twenty-two years of Thutmose's reign he was co-regent with his stepmother, Hatshepsut, who was named the pharaoh. While she is shown first on surviving monuments, both were assigned the usual royal names and insignia and neither is given any obvious seniority over the other. He served as the head of her armies.
http://wn.com/Thutmose_III -
Tiu (pharaoh)
Tiu, also Teyew etc, was a Predynastic ancient Egyptian king who ruled in the Nile Delta . He is mentioned in the Palermo Stone inscriptions along with a small number of kings of Lower Egypt . Nothing else is known of his life or reign.
http://wn.com/Tiu_(pharaoh) -
Tutankhamun
http://wn.com/Tutankhamun -
Twosret
Queen Twosret (Tawosret, Tausret) was the last known ruler and the final Pharaoh of the Nineteenth Dynasty.
http://wn.com/Twosret -
Wakhare Khety I
Wakhare Khety I was a pharaoh in the Ninth dynasty of Egypt. His name is mentioned in the Turin Royal Canon.
http://wn.com/Wakhare_Khety_I -
Wazner
Wazner, also Wazenez or Wadjenedj, was a Predynastic Egyptian king who ruled in the Nile Delta. He is mentioned in the Palermo Stone inscriptions among a small number of kings of Lower Egypt.
http://wn.com/Wazner -
Weneg (pharaoh)
Weneg (or Wneg or Wadjnes or Tlas) was the royal Nebti name of a pharaoh during the Second dynasty of Egypt. His identity was unknown and he was assumed to have been a king who ruled Egypt between Nynetjer and Khasekhemwy for 8 years. However, recent scholarship by the German Egyptologist Jochem Kahl has established that Weneg was rather the Nebty name of the second king of the Second Dynasty: Raneb
http://wn.com/Weneg_(pharaoh) -
Xerxes I of Persia
http://wn.com/Xerxes_I_of_Persia
karaoke
Hi to all the people that are selling me
Here's one straight from the factory
They've sewn my eyes up in their sockets
I dip my hand into their pockets
Is there anybody there
I could swear I'm not alone
Show your faces if you dare
Slaving platinum to bone
One big man with a good connection
Takes the whole damn ship in the wrong direction
I don't mind him misinterpreting me
I hate it when he gets us lost out to sea
Late at night when I'm lying in bed
I've got to say a prayer for my daily bread
And early in the morning when I'm still asleep
You sit upon your throne making grown men weep, with boredom
Music: Symphony X
Lyrics: Allen
Ancient lands, lost in time
Storms of sand, walls of lime
Surround this mask of death I wear
Awakened by intruder souls
The jackal screams as my stone gods behold
Desecraters of Ra
CHORUS
Pharaoh's curse upon you
Who dares to invade his sacred ground
Gods of the Nile arise to strike you down
Forgotten days of my rule,
Cities blazed with gold and jewel
Diamond symbol of riches beyond compare
Now I lay cold in this chamber of stone
Fools forsaken the wrath of my throne
Desecraters of Ra
CHORUS
Pharaoh's curse upon you
Who dares to invade his sacred ground
Gods of the Nile arise to strike you down
Mystic gods of the stars - I summon thee from afar
Sun, moon and earth - align for my rebirth
I feel the blood flow through my veins
The life force shines on me again
Let the ritual begin - you will pay for your sins
I am god, I am king of the land
The hour of judgement is at hand
Winds of revenge sweep through the sand
The mighty pharaoh lives again
SOLO
CHORUS
Pharaoh's curse upon you
Who dares to invade his sacred ground
Gods of the Nile arise to strike you down
Pharaoh's curse upon you
Who dares to invade his sacred ground
Going alone, going alone, going alone
Take that pharaoh
Going alone, going alone, going alone
Take that pharaoh
When the lights die down
You'll see them go
Going alone, going alone, going alone
Take that pharaoh
Going alone, going alone, going alone
Take that pharaoh
When the lights die down
You'll see them go
We are all living for the game
For the game, oh, Heaven is weeping
We are all living for the game
For the game, oh, Heaven is weeping
Please don't let my memory fail me now
'Cause I've waited all this time and I can't run another mile
Oh, please don't let the world know now
Please don't let the world know now
We are all living for the game
For the game, oh, Heaven is weeping
We are all living for the game
Pharaoh he sits in his tower of steel
The dogs of money all at his heel
Magicians cry, Oh Truth! Oh Real
We're all working for the Pharaoh
A thousand eyes, a thousand ears
He feeds us all, he feeds our fears
Don't stir in your sleep tonight, my dears
We're all working for the Pharaoh
Egypt Land, Egypt Land
We're all living in Egypt land
Tell me, brother, don't you understand
We're all working for the Pharaoh
Hidden from the eye of chance
The men of shadow dance a dance
And we're all struck into a trance
We're all working for the Pharaoh
Idols rise into the sky
Pyramids soar, Sphinxes lie
Head of dog, Osiris eye
We're all working for the Pharaoh
Egypt Land, Egypt Land
We're all living in Egypt land
Tell me, brother, don't you understand
We're all working for the Pharaoh
I dig a ditch, I shape a stone
Another battlement for his throne
Another day on earth is flown
We're all working for the Pharaoh
Call it England, call it Spain
Egypt rules with the whip and chain
Moses free my people again
We're all working for the Pharaoh
Egypt Land, Egypt Land
We're all living in Egypt land
Tell me, brother, don't you understand
We're all working for the Pharaoh
Pharaoh he sits in his tower of steel
Around his feet the princes kneel
Far beneath we shoulder the wheel
RELEASE
ALBUMS
- Leave Me Here to Dream
- The Wolves
- Castles in the Sky
- The Year of the Blizzard
- The Spider's Thread
- Cry
- Graveyard of Empires
- Burn With Me
- In Your Hands
- The Spider's Thread (reprise)
- Speak to Me
- Dark New Life
- No Remains
- Red Honor
- Buried at Sea
- Rats and Rope
- Cover Your Eyes and Pray
- Telepath
- Be Gone
- Sunrise
- I Am the Hammer
- In the Violet Fire
- By the Night Sky
- Endlessly
- The Longest Night
- Fighting
- Like a Ghost
- Up the Gates
- Never Run
- Unum
- After the Fire
- Flash of the Dark
- Forever Free
- Heart of the Enemy
- Solar Flight
- Now Is the Time
- Never, Not Again
- Slaves
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Egypt's golden empire : The Last Great Pharaoh 1/9
- Order: Reorder
- Duration: 5:36
- Published: 24 Aug 2008
- Updated: 10 Sep 2012
For over 3000 years Egypt was ruled by Pharaohs. But in that last sweep of time, one pharaoh stands out. He would reign for 67 years, command the largest empire on earth and capture the imagination of the world. His name was Ramesses. Ramesses built a reputation that has resounded through history. It was a reputation deliberately crafted by the pharaoh himself. Ramesses was in fact a master of propaganda, projecting his power beyond the battlefield across the ancient world
http://wn.com/Egypt's_golden_empire_The_Last_Great_Pharaoh_1_9
Egypt's Golden Empire - Pharaohs of the Sun
- Order: Reorder
- Duration: 54:40
- Published: 23 Jun 2011
- Updated: 04 Oct 2012
For more great documentaries visit www.DocumentaryList.NET and support the site Sorry had to remove comments. Too much off topic. Go flame each other somewhere else!
http://wn.com/Egypt's_Golden_Empire_Pharaohs_of_the_Sun
Pharaoh City Builder
- Order: Reorder
- Duration: 9:12
- Published: 25 Aug 2007
- Updated: 22 Sep 2012
Building an egyptian empire....
http://wn.com/Pharaoh_City_Builder
SBTRKT - Pharaohs
- Order: Reorder
- Duration: 3:43
- Published: 17 Jun 2011
- Updated: 05 Oct 2012
'Pharaohs' by SBTRKT, featuring Roses Gabor. Taken from the album 'SBTRKT' released in 2011 on Young Turks. Pre-order from iTunes: bit.ly
http://wn.com/SBTRKT_Pharaohs
Egypt's Golden Empire - The Warrior Pharaohs
- Order: Reorder
- Duration: 54:42
- Published: 23 Jun 2011
- Updated: 04 Oct 2012
For more great documentaries visit www.DocumentaryList.NET and support the site
http://wn.com/Egypt's_Golden_Empire_The_Warrior_Pharaohs
Pharaoh's Obelisk
- Order: Reorder
- Duration: 57:38
- Published: 27 Mar 2009
- Updated: 04 Oct 2012
www.pbs.org - Discover how ancient Egyptians used nautical experience, ingenuity, and unwavering faith to raise massive 500-ton granite monoliths that have stood for thousands of years in tribute to their unparalleled early civilization.
http://wn.com/Pharaoh's_Obelisk
Pharaoh's snake
- Order: Reorder
- Duration: 3:11
- Published: 02 Sep 2008
- Updated: 05 Oct 2012
Mercury(II) thiocyanate decomposition is initiated by heating.
http://wn.com/Pharaoh's_snake
Pharaoh Cleopatra gameplay expert
- Order: Reorder
- Duration: 6:45
- Published: 27 Jul 2010
- Updated: 22 Sep 2012
Selection of some finest cities in Pharaoh:Cleopatra played on 'Very Hard' mode. HD version: www.youtube.com Another timeless game and imo best ever in citybuilders universe. Enjoy. RR
http://wn.com/Pharaoh_Cleopatra_gameplay_expert
Army Of The Pharaohs - Seven (Prod. by Ill Bill & Sicknature) AOTP
- Order: Reorder
- Duration: 6:15
- Published: 24 Sep 2007
- Updated: 05 Oct 2012
BUY THE ALBUM!!! Army of the Pharaohs - Seven
http://wn.com/Army_Of_The_Pharaohs_Seven_Prod_by_Ill_Bill_Sicknature_AOTP
PHARAOH'S THRONE~!
- Order: Reorder
- Duration: 6:01
- Published: 16 Jun 2012
- Updated: 05 Oct 2012
DOWNLOAD LINKS (Updated): FULL MP3 - www.mediafire.com RADIO EDIT - www.mediafire.com The final chapter in the Lady Gaga parody trilogy. This video was made as a result of donations made to raise money for Dan Green's family in their time of need. Special thanks to VectorJon for his donation,...
http://wn.com/PHARAOH'S_THRONE~!
Edguy - The Pharaoh
- Order: Reorder
- Duration: 10:39
- Published: 04 Jul 2008
- Updated: 03 Oct 2012
Taken from their album, Mandrake. Enjoy!!!
http://wn.com/Edguy_The_Pharaoh
Pharaoh - Intro
- Order: Reorder
- Duration: 2:17
- Published: 03 Mar 2008
- Updated: 30 Jul 2012
Introduction video clip for the game Pharaoh.
http://wn.com/Pharaoh_Intro
Egypt's Golden Empire - The Last Great Pharaoh
- Order: Reorder
- Duration: 54:42
- Published: 23 Jun 2011
- Updated: 03 Oct 2012
For more great documentaries visit www.DocumentaryList.NET and support the site
http://wn.com/Egypt's_Golden_Empire_The_Last_Great_Pharaoh
Nightwish - The Pharaoh Sails to Orion (ft. Tapio Wilska)
- Order: Reorder
- Duration: 6:28
- Published: 06 Mar 2008
- Updated: 05 Oct 2012
Taken from their second album, Oceanborn (1998). Enjoy!!! The Pharaoh Sails To Orion "Get away from me! Take heed to thyself and see my face no more! for in the day Thou see my face Thou shalt die!" - Exodus 10:28 A constellation of divine architecture built on Earth A holy harbour - Orion Nautical ascension to the firmament Ship-shaped barrows open my heart to the wisdom of this land Sailing with the Serpent Chimera of a fiendish sandman The Unicorn arrives with the westwind to dream His funeral "Thou art born for Horus dwells in Thee" Slumbering with the ebb and the flow of this foaming tomb "Thou art born for Seteh dwells in Thee" Reveal your face to me and guide me though the Stygian fields Enthral my soul to Sepedet's beams to serve Your will Sailing on the distant seas from darkness to deliverance Tales like the ocean written to the Draco's glance Ruling with the scythe of death you tear out philosophies apart An ancient starwalk to merge into the stars "Open thy veins for my venom Kiss the cobras with thy twisted tongue So shalt thou join the empyrean circus Where beggars mourn and seraphs dance In this twilight cathedral Shall I wed thee, O Bride of the Netherworld" Sailing on the distant seas... Join my soul the Hunter in the sky...
http://wn.com/Nightwish_The_Pharaoh_Sails_to_Orion_ft_Tapio_Wilska
Pharaoh's serpent
- Order: Reorder
- Duration: 0:36
- Published: 18 Jun 2008
- Updated: 05 Oct 2012
Chemical demonstration during Scientific Picnic 2008 in Warsaw. This is mercuric sulphocyanate
http://wn.com/Pharaoh's_serpent
Mega Man 4 OST, T10: Pharaoh Man Stage (Egyptian Excavation)
- Order: Reorder
- Duration: 3:07
- Published: 10 May 2009
- Updated: 01 Oct 2012
OST Name: Capcom Music Generation Family Computer Soundtracks Rockman 1~6: Disc 2: Rockman 4 Composed & Arranged by: Bunbun (Yasuaki Fujita) and Ojalin (Minae Fujii) Published & Distributed by: Suleputer All Mega Man / Rockman material including but not limited to game, characters, images, and music are © Capcom Co., Ltd. No copyright infringements are intended. The sharing of VGM does not destroy the video game industry, as it does indeed help it grow.
http://wn.com/Mega_Man_4_OST,_T10_Pharaoh_Man_Stage_Egyptian_Excavation
Pharaoh - Telepath
- Order: Reorder
- Duration: 8:43
- Published: 05 Apr 2008
- Updated: 18 Sep 2012
Artist : Pharaoh Album : Be Gone (2008) Song : Telepath www.myspace.com
http://wn.com/Pharaoh_Telepath
Queen Pharaoh - Hatshepsut 1of3
- Order: Reorder
- Duration: 14:56
- Published: 24 Dec 2010
- Updated: 05 Oct 2012
The life and accomplishments of the first and most powerful female Pharaoh of Egypt.
http://wn.com/Queen_Pharaoh_Hatshepsut_1of3
Nightwish - The Pharaoh Sails To Orion @ Raumanmeri
- Order: Reorder
- Duration: 6:42
- Published: 23 Jun 2007
- Updated: 30 Sep 2012
Nightwish - The Pharaoh Sails To Orion @ Raumanmeri
http://wn.com/Nightwish_The_Pharaoh_Sails_To_Orion_@_Raumanmeri
Woolly Bully-Sam The Sham & Pharaohs.
- Order: Reorder
- Duration: 2:21
- Published: 16 Dec 2008
- Updated: 05 Oct 2012
Woolly Bully-Sam The Sham & Pharaohs.Lyrics.As the Pharaohs prepared to write their debut album, lead singer "Sam the Sham" (Domingo Samudio) wanted to write a tribute to the Hully Gully dance. His record label's legal department feared using that title due to the existence of another song...
http://wn.com/Woolly_Bully-Sam_The_Sham_Pharaohs
Miles Davis - Pharaoh's Dance (1/3)
- Order: Reorder
- Duration: 7:01
- Published: 25 Mar 2009
- Updated: 26 Sep 2012
The 1st track of Miles Davis' 1970 album "Bitches Brew"
http://wn.com/Miles_Davis_Pharaoh's_Dance_1_3
Nightwish- The Pharaoh Sails to Orion
- Order: Reorder
- Duration: 6:41
- Published: 21 Jun 2008
- Updated: 04 Oct 2012
The Pharaoh Sails to Orion by Finish syphonic metal band Nightwish, from their album, Oceanborn. Wow, I wonder how many more Nightwish songs I am going to add?
http://wn.com/Nightwish_The_Pharaoh_Sails_to_Orion
Edguy - The Pharaoh {Original}
- Order: Reorder
- Duration: 10:38
- Published: 08 Oct 2009
- Updated: 04 Oct 2012
Artist: Edguy Year: 2001 Album: Mandrake Lyrics: From the cradle of silence and of light It took a birth in human blood - angels cry - To the ages of violence and of hate To explore the left hand path I came alive Into my striding, the shell of a god in the cold My soul is just hiding, my spirit haunting on to control Flame of the Nile, fire in the darkness To swallow the light Behold the ghost of a god God from the Nile, eternally roaming To swallow the light Behold the spirit of a pharaoh, Pharaoh, pharaoh, no! To the world of spirits he's sailling on and on Why magician don't you feel they broke the seal Cyril's facing the tyrant everywhere Far away from his grave, Seth is free Roaming through ages Begetting advice for your kings, yow... Leading the stages Of history that's bound to my strings, no, no, no... Flame of the Nile, fire in the darkness To swallow the light Behold the ghost of a god God from the Nile, eternally roaming To swallow the light Behold the spirit of a pharaoh, Pharaoh, pharaoh, no! Don't you see that it's coming, it's near The wise man screamed in the noble chamber Just a parrot in a rich man's cage He's a jester on the count The wise man died and the seance went on And the red one reigned in the noble chamber In dreams of a masterplan For a billion parrots in a big cage Afraid of the eyes that shine in the darkness You don't realize, afraid in the haze You point at the man that grins in your nightmare And don't realize the mirror you gaze into <b>...</b>
http://wn.com/Edguy_The_Pharaoh_Original_
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WN / John Sahid
WN / John Sahid
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WN / John Sahid
WN / John Sahid
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Creative Commons![Few images of Caesarion survive. He is thought to be depicted in a partial statue found in the harbor of Alexandria by Franck Goddio in 1997. He is also portrayed twice in relief, as an adult pharaoh, with his mother on the Temple of Hathor at Dendera. [edit] Egyptian names In addition to his Greek name and nicknames, Caesarion also had a full set of royal names in the Egyptian language: Iwapanetjer entynehem Setepenptah Irmaatenre Sekhemankhamun These are usually translated as:](http://web.archive.org./web/20121006040913im_/http://cdn6.wn.com/pd/b4/06/4ed9b4eea8b48eca7fc7994d4006_small.jpg "Few images of Caesarion survive. He is thought to be depicted in a partial statue found in the harbor of Alexandria by Franck Goddio in 1997. He is also portrayed twice in relief, as an adult pharaoh, with his mother on the Temple of Hathor at Dendera. [edit] Egyptian names In addition to his Greek name and nicknames, Caesarion also had a full set of royal names in the Egyptian language: Iwapanetjer entynehem Setepenptah Irmaatenre Sekhemankhamun These are usually translated as:")
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AP / Burhan Ozbilici
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Creative Commons
![Few images of Caesarion survive. He is thought to be depicted in a partial statue found in the harbor of Alexandria by Franck Goddio in 1997. He is also portrayed twice in relief, as an adult pharaoh, with his mother on the Temple of Hathor at Dendera. [edit] Egyptian names In addition to his Greek name and nicknames, Caesarion also had a full set of royal names in the Egyptian language: Iwapanetjer entynehem Setepenptah Irmaatenre Sekhemankhamun These are usually translated as:](http://web.archive.org./web/20121006040913/http://cdn0.wn.com/pd/b4/06/4ed9b4eea8b48eca7fc7994d4006_medium.jpg "Few images of Caesarion survive. He is thought to be depicted in a partial statue found in the harbor of Alexandria by Franck Goddio in 1997. He is also portrayed twice in relief, as an adult pharaoh, with his mother on the Temple of Hathor at Dendera. [edit] Egyptian names In addition to his Greek name and nicknames, Caesarion also had a full set of royal names in the Egyptian language: Iwapanetjer entynehem Setepenptah Irmaatenre Sekhemankhamun These are usually translated as:")
Photo: DOD / Public Domain
04 Oct 2012
In Afghanistan, the US military has tried training sessions, embedded cultural advisers, recommended reading lists, and even a video game designed to school American troops in local custom. But 11...
Photo: AP / Charlie Neibergall
04 Oct 2012
DENVER -- In the first presidential debate of the fall campaign, Mitt Romney defended himself Wednesday night against charges from President Barack Obama that his tax-cut plan would favor the wealthy....
Photo: AP
04 Oct 2012
TURKEY doesn't want war with Syria but it's determined to protect its borders and its people, the country's prime minister declared Thursday. Turkey's Prime Minister Recep Tayyip...
Photo: AP / Thanassis Stavrakis
05 Oct 2012
Protesters are appearing in court in the Greek capital Athens a day after a rally by shipyard workers against job cuts descended into violence. A line of blue police lorries flanked the courthouse as...
Photo: AP / Peter Dejong
03 Oct 2012
Champions League-Klassiker in Amsterdam. Ajax empfing am zweiten Spieltag der Könisklasse das „Weiße Ballett“ aus Madrid. Am Ende siegten die Königlichen mit 4:1. Von Heik Kölsch Mehr zu : ...
Photo: AP / Burhan Ozbilici
21 Sep 2012
CAIRO (AP) — The image of an Ottoman sultan glowered at the gridlock from a highway billboard in the Egyptian capital, hands clasped, his feathered headgear and gold-hewn epaulettes in elegant...
Photo: White House / Pete Souza
16 Sep 2012
Article by WN.com Correspondent Dallas Darling Ancient Egyptians not only understood the pharaoh to be the living embodiment of the divine god Horus, but the source of morality and law and the...
View of Pharaoh Lake Wilderness
27 Sep 2012
The Examiner
Related topics Autumn travelhiking & backpackingWeekend Trip Advertisement Pharaoh Mountain is a dominant feature of Pharaoh Lake Wilderness. The 2556’ summit view yields panoramic views of scenic Pharaoh Lake Wilderness area, a unit within the Adirondack Park. Its name was from Pharaoh Lake a...(size: 8.0Kb)
Pharaohs eye futsal glory (15908675)
18 Sep 2012
noodls
(Source: FIFA - Fédération Internationale de Football Association) That Egypt have made it to the finals of the FIFA Futsal World Cup Thailand 2012 should come as no surprise to fans of the indoor game. The Pharaohs have been a fixture at the competition since Spain 1996, when they beat Australia...(size: 5.1Kb)
IMDb
When one cast member inherits a political impression from another cast member on Saturday Night...(size: 0.6Kb)
Chicago Sun-Times
NEW YORK (AP) — “Saturday Night Live” has elected a new Barack Obama: Jay Pharoah will take over the plum role of impersonating the president. “SNL”...(size: 1.0Kb)
Curse of the pharaoh's man boobs: Tutankhamen's death blamed on 'inherited disorder' which led to ...
13 Sep 2012
The Daily Mail
British surgeon Hutan...(size: 0.2Kb)
Changing Pharaohs
10 Sep 2012
American Spectator
By George H. Wittman on 9.10.12 @ 6:07AM Who is Mohammed Morsi, the Islamist leader of the old new Egypt? As soon as it was clear that Mohammed Morsi was going to be Egypt's new president, press sources in Cairo fell all over each other trying to get information on this new star member of the Moslem...(size: 5.3Kb)
The Daily Mail
Around 100 miles of party...(size: 0.2Kb)
Middle East Online
CAIRO- A media crackdown in the first month of Egyptian Islamist president’s rule has raised fears Mohamed Morsi is moving to stifle criticism of the Muslim Brotherhood. This week, formal accusations by state prosecutors were filed against two journalists, while an issue of the newspaper al-Dostour...(size: 5.6Kb)
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Updated trail guide published for E. Adirondacks; includes L. George area, Pharaoh Lakes
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For other uses, see Pharaoh (disambiguation).
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| nesu-bit "King of Upper and Lower Egypt" in hieroglyphs |
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Pharaoh (
/ˈfeɪ.roʊ/ or /fɛ.roʊ/[1]) is a title used in many modern discussions of the ancient Egyptian rulers of all periods.[2] The title originates in the term "pr-aa" which means "great house" and describes the royal palace. The title of Pharaoh started being used for the king during the New Kingdom, specifically during the middle of the eighteenth dynasty.[3]
Contents |
History of the Pharaoh title[link]
Pharaoh, meaning "Great House", originally referred to the king's palace, but by the reign of Thutmose III (ca. 1479-1425 BC) in the New Kingdom, had become a form of address for the person of the king.[4]
The term pharaoh ultimately was derived from a compound word represented as pr-`3, written with the two biliteral hieroglyphs pr "house" and `3 "column". It was used only in larger phrases such as smr pr-`3 'Courtier of the High House', with specific reference to the buildings of the court or palace itself.[5] From the twelfth dynasty onward the word appears in a wish formula 'Great House, may it live, prosper, and be in health', but again only with reference to the royal palace and not the person.
The earliest instance where pr-`3 is used specifically to address the ruler is in a letter to Amenhotep IV (Akhenaten), who reigned c. 1353 - 1336 BC, which is addressed to 'Pharaoh, all life, prosperity, and health!.[6] During the eighteenth dynasty (sixteenth to fourteenth centuries BC) the title pharaoh was employed as a reverential designation of the ruler. About the late twenty-first dynasty (tenth century BC), however, instead of being used alone as before, it began to be added to the other titles before the ruler's name, and from the twenty-fifth dynasty (eighth to seventh centuries BC) it was, at least in ordinary usage, the only epithet prefixed to the royal appellative.[7]
From the nineteenth dynasty onward pr-`3 on its own was used as regularly as hm.f, 'His Majesty'. The term therefore evolved from a word specifically referring to a building to a respectful designation for the ruler, particularly by the twenty-second dynasty and twenty-third dynasty.[citation needed]
For instance, the first dated instance of the title pharaoh being attached to a ruler's name occurs in Year 17 of Siamun on a fragment from the Karnak Priestly Annals. Here, an induction of an individual to the Amun priesthood is dated specifically to the reign of Pharaoh Siamun. This new practice was continued under his successor Psusennes II and the twenty-first dynasty kings. Meanwhile the old custom of referring to the sovereign simply as pr-`3 continued in traditional Egyptian narratives.[citation needed]
By this time, the Late Egyptian word is reconstructed to have been pronounced *par-ʕoʔ whence comes Ancient Greek φαραώ pharaō and then Late Latin pharaō. From the latter, English obtained the word "Pharaoh". Over time, *par-ʕoʔ evolved into Sahidic Coptic prro ⲡⲣ̅ⲣⲟ and then rro (by mistaking p- as the definite article prefix "the" from Ancient Egyptian p3).[8]
Regalia[link]
Scepters and Staves[link]
Scepters and staves were a general sign of authority in Ancient Egypt. One of the earliest royal scepters was discovered in the tomb of Khasekhemwy in Abydos. Kings were also known to carry a staff, and Pharaoh Anedjib is shown on stone vessels carrying a so called mks-staff. The staff with the longest history seems to be the heqa-scepter, sometimes described as the shepherd’s crook. The earliest examples of this piece of regalia dates to pre-dynastic times. A scepter was found in a tomb at Abydos that dates to the late Naqada period.
Another scepter associated with the king is the was-scepter. This is a long staff mounted by an animal head. The earliest known depictions of the was-scepter date to the First dynasty of Egypt. The was-scepter is shown in the hands of both kings and gods.
The Flail was later closely related to the ‘’heqa’’-scepter, but in early representations the king was also depicted solely with the flail, as shown in a late pre-dynastic knife handle which is now in the Metropolitan museum, and on the Narmer Macehead.[9]
The Uraeus[link]
The earliest evidence we have of the use of the Uraeus—a rearing cobra—is from the reign of Den from the First dynasty of Egypt. The cobra supposedly protected the pharaoh by spitting fire at its enemies.[9]
Crowns and headdresses[link]
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| Narmer wearing the white crown | Narmer wearing the red crown |
The red crown of Lower Egypt – the Deshret crown – dates back to pre-dynastic times. A red crown has been found on a pottery shard from Naqada, and later king Narmer is shown wearing the red crown on both the Narmer macehead and the Narmer palette.
The white crown of Upper Egypt – the Hedjet crown – is shown on the Qustul incense burner which dates to the pre-dynastic period. Later, King Scorpion was depicted wearing the white crown, as was Narmer.
The combination of red and white crown into the double crown – or Pschent crown – is first documented in the middle of the First dynasty of Egypt. The earliest depiction may date to the reign of Djet, and is otherwise surely attested during the reign of Den.[9]
Khat and nemes headdresses[link]
The khat headdress consists of a kind of “kerchief” whose end is tied almost like a ponytail. The earliest depictions of the khat headdress comes from the reign of Den, but is not found again until the reign of Djoser.
The Nemes headdress dates from the time of Djoser. The statue from his Serdab in Saqqara shows the king wearing the nemes headdress.[9]
Physical evidence[link]
Egyptologist Bob Brier has noted that despite its widespread depiction in royal portraits, no ancient Egyptian crown ever has been discovered. Tutankhamun's tomb, discovered largely intact, did contain such regalia as his crook and flail. No crown was found however among the funerary equipment.
It is presumed that crowns would have been believed to have magical properties. Brier's speculation is that crowns were religious or state items; a dead pharaoh could not retain a crown as a personal possession. The crowns may have had to be passed along to a successor.[citation needed]
Titles[link]
During the early dynastic period kings had up to three titles. The Horus name is the oldest and dates to the late pre-dynastic period. The Nesw Bity name was added during the middle of the 1st dynasty. The Nebty name was first introduced towards the end of the 1st dynasty.[9] The Golden falcon (bik-nbw) name is not well understood. The prenomen and nomen were introduced later and are traditionally enclosed in a cartouche.[3] By the Middle Kingdom, the official titulary of the ruler consisted of five names; Horus, nebty, golden Horus, nomen, and prenomen[10] for some rulers, only one or two of them may be known.
[edit] Nesw Bity name
The Nesw Bity name was one of the new developments from the reign of Den. The name would follow the glyphs for the “Sedge and the Bee”. The title is usually translated as king of Upper and Lower Egypt. The nsw bity name may have been the birth name of the king. It was often the name by which kings were recorded in the later annals and king lists.[9]
Horus name[link]
The Horus name was adopted by the king, when he took the throne. The name was written within a square frame representing the palace, named a serekh. The earliest known example of a serekh dates to the reign of king Ka, before the first dynasty [11]. The Horus name of several early kings expresses a relationship with Horus. Aha refers to “Horus the fighter”, Djer refers to “Horus the strong”, etc. Later kings express ideals of kingship in their Horus names. Khasekhemwy refers to “Horus: the two powers are at peace”, while Nebra refers to “Horus, Lord of the Sun”.[9]
[edit] Nebty name
The earliest example of a nebty name comes from the reign of king Aha from the 1st dynasty. The title links the king with the goddesses of Upper and Lower Egypt Nekhbet and Wadjet.[3][9] The title is preceded by the vulture (Nekhbet) and the cobra (Wadjet) standing on a basket (the neb sign).[9]
Golden Horus name[link]
The Golden Horus or Golden Falcon name was preceded by a falcon on a gold or nbw sign. The title may have represented the kings divine status. The Horus associated with gold may be referring to the idea that the god’s bodies were made of gold. The gold sign may also be a reference to Nubt, the city of Set. This would suggest that the iconography represents Horus conquering Set.[9]
Nomen and Prenomen[link]
The prenomen and nomen were contained in a cartouche. The prenomen often followed the King of Upper and Lower Egypt (nsw bity) or Lord of the Two Lands (nebtawy) title. The prenomen often incorporated the name of Re. The nomen often followed the title Son of Re (sa-ra) or the title Lord of Appearances (neb-kha’).[3]
See also[link]
- Ancient Egyptian royal titulary
- Egyptian chronology - Conventional Egyptian chronology
- History of Egypt
- List of Pharaohs
- Monarch
- Pharaoh of the Exodus
- Great Royal Wife, the chief wife of a Pharaoh
- Islamic view of the Pharaoh of the Exodus
References[link]
- ^ Merriam-Webster's Collegiate Dictionary, Eleventh Edition. Merriam-Webster, 2007. p. 928
- ^ Beck, Roger B.; Linda Black, Larry S. Krieger, Phillip C. Naylor, Dahia Ibo Shabaka, (1999). World History: Patterns of Interaction. Evanston, IL: McDougal Littell. ISBN 0-395-87274-X.
- ^ a b c d Dodson, Aidan and Hilton, Dyan. The Complete Royal Families of Ancient Egypt. Thames & Hudson. 2004. ISBN 0-500-05128-3
- ^ Redmount, Carol A. "Bitter Lives: Israel in and out of Egypt." p. 89-90. The Oxford History of the Biblical World. Michael D. Coogan, ed. Oxford University Press. 1998.
- ^ Ancient Egyptian Grammar (3rd ed.), A. Gardiner (1957-) 71-76
- ^ Hieratic Papyrus from Kahun and Gurob, F. LL. Griffith, 38, 17. Although see also Temples of Armant, R. Mond and O. Myers (1940), pl.93, 5 for an instance possibly dating from the reign of Thutmose III.
- ^ "pharaoh." in Encyclopædia Britannica. Ultimate Reference Suite. Chicago: Encyclopædia Britannica, 2008.
- ^ Walter C. Till: Koptische Grammatik. VEB Verläg Enzyklopädie, Leipzig, 1961. p.62
- ^ a b c d e f g h i j Wilkinson, Toby A.H. Early Dynastic Egypt Routledge, 2001 ISBN 978-0-415-26011-4
- ^ Ian Shaw, The Oxford History of Ancient Egypt, Oxford University Press 2000, p. 477
- ^ Toby A. H. Wilkinson, Early Dynastic Egypt, Routledge 1999, pp.57f.
Bibliography[link]
- Sir Alan Gardiner Egyptian Grammar: Being an Introduction to the Study of Hieroglyphs, Third Edition, Revised. London: Oxford University Press, 1964. Excursus A, pp. 71–76.
- Jan Assmann, "Der Mythos des Gottkönigs im Alten Ägypten," in Christine Schmitz und Anja Bettenworth (hg.), Menschen - Heros - Gott: Weltentwürfe und Lebensmodelle im Mythos der Vormoderne (Stuttgart, Franz Steiner Verlag, 2009), 11-26.
External links[link]
- Digital Egypt for Universities
- Mummies of the Pharaohs at James M. Deem's Mummy Tombs site.
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Pharaoh
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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This article has multiple issues. Please help improve it or discuss these issues on the talk page.
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| Ill Bill | |
|---|---|
 Ill Bill, also known as Billy Crystal |
|
| Background information | |
| Birth name | William Braunstein |
| Born | (1972-07-14) July 14, 1972 (age 39) |
| Origin | Brooklyn, New York, U.S. |
| Genres | Hip hop |
| Occupations | Rapper Producer Label CEO |
| Years active | 1991–present |
| Labels | Uncle Howie Psycho+Logical |
| Associated acts | Non Phixion La Coka Nostra Circle of Tyrants Secret Society Injustice Necro DJ Muggs Jedi Mind Tricks |
| Website | www.illbill.com www.unclehowie.com |
William Braunstein, better known as Ill Bill, is a Jewish American Rapper and record producer from Brooklyn, New York. Having gained notoriety in the underground hip hop group Non Phixion, Ill Bill is known for his hardcore lyrics and as the producer, founder and CEO of Uncle Howie Records. His brother Ron is also a rapper and producer, known as Necro.[1]
Contents |
Biography[link]
Ill Bill was the main voice behind the now disbanded Non Phixion, and is currently involved with La Coka Nostra, along with Slaine, Danny Boy and DJ Lethal of House of Pain & Limp Bizkit fame. In 2004 he released his debut solo album What's Wrong with Bill? and has since released various solo mixtapes and collaborations in anticipation for his second solo record and the upcoming La Coka Nostra album.
On September 16, 2008, he released his second album on Uncle Howie Records, entitled The Hour of Reprisal. The album includes appearances from Necro, Tech N9ne, B-Real of Cypress Hill, Everlast, Bad Brains, Max Cavalera of Soulfly, Vinnie Paz of Jedi Mind Tricks, Howard Jones of Killswitch Engage, Immortal Technique and Raekwon of Wu-Tang Clan. It also features production by DJ Muggs, T-Ray, DJ Lethal, Necro, DJ Premier and Ill Bill himself.
He released an album with Vinnie Paz as the Heavy Metal Kings. Ill Bill was supposed to release a collaboration album with rapper Crooked I and production team Blue Sky Black Death, but the project was cancelled.
During Spring 2008, Ill Bill joined Tech N9ne and Paul Wall on a nationwide tour. "The Hour of Reprisal" was released on September 16, 2008 by Uncle Howie Records and Fat Beats.
In an October 31, 2010 interview on Conspiracy Worldwide Radio, Ill Bill discussed his relationship with his brother Necro and his range of albums expected in 2011 including La Coka Nostra, The Pill album with Sean Price and his Heavy Metal Kings album with Vinnie Paz set to release April 5, 2011.[2]
[edit] What's Wrong with Bill?
What's Wrong with Bill? is Ill Bill's debut studio album, released on March 2, 2004 by Psycho+Logical-Records. The album spawned one single, "The Anatomy of a School Shooting", and a music video for "Chasing the Dragon". This album never charted.[3]
Discography[link]
Main article: Ill Bill discography
- 2001: The Early Years: Rare Demos '91-'94
- 2002: The Future Is Now (with Non Phixion)
- 2003: ILL BILL Is The Future
- 2003: Street Villains (with Necro)
- 2003: Howie Made Me Do It
- 2004: The Green CD/DVD (with Non Phixion)
- 2004: What's Wrong with Bill?
- 2005: Street Villains 2 (with Necro)
- 2005: Circle Of Tyrants (with Necro, Goretex & Mr. Hyde)
- 2006: ILL BILL Is The Future Vol. 2
- 2007: Black Metal
- 2008: The Hour of Reprisal
- 2009: A Brand You Can Trust (with La Coka Nostra)
- 2010: Kill Devil Hills (with DJ Muggs)
- 2011: Heavy Metal Kings (with Vinnie Paz)
- 2011: Howie Made Me Do It 2
- 2012: Masters Of The Dark Arts (with La Coka Nostra)
- 2012: The Grimy Awards [4]
- 2012: Heavy Metal Kings vs. DJ Muggs [4]
- TBA: The Pill (with Sean Price) [5]
- TBA: Heavy Metal Kings 2
Collaborations[link]
- Sha-key feat. Ill Bill "Doompasaga"(produced by Ill Bill) off the LP "A Head Nadda's Journey To Adidi Skizm" (1994 Imago Recording Company)
- Necro feat. Ill Bill & Goretex "I Need Drugs" LP (2001 Psycho+Logical)
- O.D. feat. Ill Bill & Goretex of Non Phixion "2004" 12" (1999 Audio Research)
- Company Flow feat. Ill Bill of Non Phixion "Simian Drugs" 12" (2000 Def Jux)
- Necro feat. Ill Bill "The Most Sadistic" 12" (2000 Psycho+Logical)
- Necro feat. Ill Bill & Goretex "Gory Days" LP (2001 Psycho+Logical)
- Troy Dunnit feat. Ill Bill "Let's Go" 12" (2001 Audio Research)
- Non Phixion (Ill Bill, Goretex, Sabac Red & DJ Eclipse) "The Future Is Now" LP (2002 Uncle Howie)
- El-P feat. Ill Bill "Fantastic Damage" LP (2002 Def Jux)
- The Beatnuts feat. Ill Bill, Problemz - "Yae Yo" 12" (2002 Landspeed)
- Jedi Mind Tricks feat. Ill Bill, Sabac Red - "The Wolf" 12" (2003 Babygrande)
- Dj JS-1 feat. Ill Bill, Licence to ill- "Ground Original" LP (2003 Yosumi / M3)
- Non Phixion (Ill Bill, Goretex, Sabac Red & DJ Eclipse) "The Green CD/DVD" (2004 Uncle Howie)
- Circle Of Tyrants (Necro, Ill Bill, Goretex & Mr. Hyde) "The Circle Of Tyrants" LP (2005 Psycho+Logical)
- Necro and Ill Bill "Street Villains Vol. 2" (2005 Psycho+Logical)
- Ill Bill feat. Raekwon - "Enemy" (2006) (White Label)
- Ill Bill feat. Raekwon - "Thousands To M's" (2006) (White Label)
- MC Lars feat. Ill Bill - "The Dialogue" (extraído del álbum de MC Lars "The Graduate" 2006)
- Jedi Mind Tricks feat. Ill Bill - "Heavy Metal Kings" (2006 Babygrande Records)
- La Coka Nostra (Danny Boy, Ill Bill, Everlast, Slaine, Big Left, Kaves & DJ Lethal) LP (Próximamente)
- Ill Bill Feat Slaine & Reef The Lost Cause "Bangmatic Remix" (Mass Movementz The Album, 2009)
- Clementino feat. Ill Bill - "Hannibal rapper" (2011 Relief Records)
References[link]
- ^ http://www.hiphopug.com/ill-bill.html
- ^ Ill Bill Oct 31st Uncensored Radio Interview
- ^ "What's Wrong With Bill? - Ill Bill". Billboard.com. Billboard. http://www.billboard.com/charts#/album/ill-bill/what-s-wrong-with-bill/625468. Retrieved February 2, 2010. "This Album has never charted."
- ^ a b http://www.facebook.com/permalink.php?story_fbid=232225723460101&id=182608068421867
- ^ http://www.formspring.me/ILLBILL/q/648614731?utm_medium=social&utm_source=twitter&utm_campaign=shareanswer
External links[link]
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| Persondata | |
|---|---|
| Name | Ill Bill |
| Alternative names | Braunstein, William |
| Short description | American rapper |
| Date of birth | July 14, 1972 |
| Place of birth | Brooklyn, New York, United States |
| Date of death | |
| Place of death | |
http://wn.com/Ill_Bill
Related pages:
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Tapio Wilska | |
|---|---|
 Wilska during Meet & Greet at Wacken Open Air 2005. |
|
| Background information | |
| Also known as | Wilska |
| Origin | Finland |
| Genres | Folk metal, death metal, heavy metal, black metal, doom metal, gothic metal, symphonic metal, power metal, folk, progressive metal, thrash metal |
| Instruments | Vocals, bass, guitar, keyboards |
Tapio Wilska (born 19 September 1969 in Savonlinna, Finland) is the main vocalist of the heavy metal band Sethian. He is also the ex-lead vocalist for the band Finntroll. He gets his inspiration from bands like Black Sabbath, Motörhead, Dead Kennedys, Venom, Thin Lizzy and The Pixies.
Biography[link]
His musical career started when he was in bands like Lyijykomppania, Stray Toasters and Nattvindens Gråt with Sami Vänskä and Tuomas Holopainen (both from the then yet to be founded Nightwish) in the middle of the '90s. He even helped Nightwish to get a record deal with Spinefarm. When Nightwish became an established name, Wilska moved on to stage technical work during their tours. His job included working on microphones, the bass and drums, and some security.
When Nightwish released their 1998 album Oceanborn, Wilska was asked to do the male vocals on the tracks Devil and the Deep Dark Ocean and The Pharaoh Sails to Orion. Wilska's low and dark voice gave the songs a sinister character, and many metal fans from all over the world loved it. After his successful appearance on Oceanborn, Wilska also performed in the song Tenth Man Down on Over the Hills and Far Away in 2001 and once again with The Pharaoh Sails to Orion on Nightwish's DVD From Wishes to Eternity.
After this success, Wilska quit working as a roadie and started working on his own project, entitled Sethian. Once again, he got a lot of help from Nightwish, mainly Tuomas and Jukka, the latter of whom had even decided to play drums for the band. In 2003 the album Into The Silence was released.
During May 2002 Tapio was featured on the album track 'Farewell' by Finnish based doom metal band 'Rapture' reciting lyrics for the song.
In late 2002, however, vocalist Jan 'Katla' Jämsen left the band Finntroll because of a viral-based growth on his vocal cords. Wilska was asked to be the new singer, and he accepted. In 2004, he released his first full album with Finntroll called Nattfödd.
In early 2006 Wilska was fired from Finntroll due to personal differences. Very soon afterwards he joined Finnish pagan metal band Soulgrind as a bassist, and also started a new metal band Blood Royal. He has been also bassist for Survivors Zero, a Finnish death metal band since 2007.
Discography[link]
All of the albums Wilska appears on:
- Lyijykomppania - Uimakoulu (1993)
- Nattvindens Gråt - A Bard's Tale (1994)
- Nattvindens Gråt - Chaos Without Theory (1997)
- Wizzard - Devilmusick (1999)
- Wizzard - Songs Of Sin And Damnation (2000)
- Nightwish - Oceanborn (1998)
- Nightwish - From Wishes to Eternity (2001)
- Nightwish - Over The Hills And Far Away (2001)
- Sethian - Into The Silence (2003)
- Finntroll - Visor Om Slutet (2003)
- Finntroll - Nattfödd (2004)
- Kylähullut - Lisää Persettä Rättipäille (2007)
- Soulgrind - Pakana (2007)
- Survivors Zero - CMXCIX (2007)
External links[link]
- Nightwish Official Website
- Finntroll Official Website
- Sethian Official Website
- Survivors Zero Official Website
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| Persondata | |
|---|---|
| Name | Wilska, Tapio |
| Alternative names | |
| Short description | Finnish singer |
| Date of birth | 19 September 1969 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Tapio_Wilska
Related pages:
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http://fr.wn.com/Tapio Wilska
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http://it.wn.com/Tapio Wilska
http://es.wn.com/Tapio Wilska
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Tapio_Wilska
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
 |
This article's lead section may not adequately summarize its contents. Please consider expanding the lead to provide an accessible overview of the article's key points. (March 2012) |
| Miles Davis | |
|---|---|
 Photo of Davis in 1955 taken by Tom Palumbo |
|
| Background information | |
| Birth name | Miles Dewey Davis III |
| Born | (1926-05-26)May 26, 1926 Alton, Illinois, United States |
| Died | September 28, 1991(1991-09-28) (aged 65) Santa Monica, California, United States |
| Genres | Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap[1][2] |
| Occupations | Bandleader, composer, trumpeter, artist |
| Instruments | Trumpet, flugelhorn, piano, organ |
| Years active | 1944–1975, 1980–1991 |
| Labels | Capitol Jazz/EMI, Columbia/CBS, Warner Bros. |
| Associated acts | Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans |
| Website | www.milesdavis.com |
Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century,[3] Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.
Biography[link]
Early life (1926–44)[link]
Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.
Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato.[4] Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything."[5] Clark Terry was another important early influence.[citation needed]
By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high school. He graduated from East St. Louis Lincoln High School in 1944.
In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to continue formal academic studies.
New York and the bebop years begin (1944–48)[link]
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In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music.
Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.[4]
Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.
Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also acknowledged that, while greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years.
Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers.[6] In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947.
Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass.
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With Parker's quintet, Davis went into the studio several times, already showing hints of the style for which he would become known. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that would follow. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York.[7] In 1948, Parker returned to New York, and Davis rejoined his group.
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The relationships within the quintet, however, were growing tense. Parker's erratic behavior (attributable to his well-known drug addiction) and artistic choices (both Davis and Roach objected to having Duke Jordan as a pianist[4] and would have preferred Bud Powell) became sources of friction. In December 1948, disputes over money (Davis claims he was not being paid) began to strain their relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost.
For Davis, his departure from Parker's group marked the beginning of a period in which he worked mainly as a freelancer and as a sideman in some of the most important combos on the New York jazz scene.
Birth of the Cool (1948–49)[link]
In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that was to be associated with the combo).
Davis took an active role in the project,[8] so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.
The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's artistic director.
The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording
The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.[9]
A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis' group.
For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.[4]
The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians (Mulligan and Dave Brubeck in particular).
This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.
Hard bop and the "Blue Period" (1950–54)[link]
The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.
Many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The depression was due in part to his separation from Gréco, in part to his feeling underappreciated by the critics (who were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two children.
These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their own (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and drummer Art Blakey). For the next four years, Davis supported his habit partly with his music and partly by living the life of a hustler.[10] By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed some of his friends (Navarro and Freddie Webster). He himself had been arrested for drug possession while on tour in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to Down Beat.[11]
Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and literally locking himself in a room until he had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard (Prophet) Jennings[12][13] was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.[14]
Despite all the personal turmoil, the 1950–54 period was actually quite fruitful for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.[15]
In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis.
The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.
With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues.[16] A few critics[5] go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (and of course many of them recorded or played with Davis).
Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper. Among the several factors that contributed to this reputation were his contempt for the critics and specialized press and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had a near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized press.)[17]
The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice,[18] earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.[19]
First great quintet and sextet (1955–58)[link]
Main article: Miles Davis Quintet
Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.
None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley.
The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes.[20] The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.
With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene.
The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians.[21] Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.
Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded Milestones, an album anticipating the new directions he was preparing to give to his music.
Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans——a young white pianist with a strong classical background——and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.
Recordings with Gil Evans (1957–63)[link]
In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.[22]
In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.[citation needed]
Sketches of Spain (1959–1960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall (1961) includes Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans' direction.
Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, whom he didn't speak to for more than two years.[23] This was the last time Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that "my best friend is Gil Evans."[24]
[edit] Kind of Blue (1959–64)
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style.[25] Both Davis and Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956.[26] Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album.[27] "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven to be both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold). .[28]In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.[29][30]
The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program."[31]
In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on."[32] Davis explained that he worked at the nightclub and refused to move.[33] The officer said that he would arrest Davis and grabbed him as Davis protected himself.[32] Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation.[32] Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head.[32] Davis attempted to pursue the case in the courts, before eventually dropping the proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New York clubs.
Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album.
In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.
The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the Seven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964). The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.
Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on Miles in Tokyo! (July 1964).
By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin (September 1964). On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to Columbia Records.[citation needed]
Second great quintet (1964–68)[link]
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By the time of E.S.P. (1965), Davis's lineup consisted of Wayne Shorter, Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as the second great quintet.
A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. It is reasonable to point out, though, that while some of the titles remain the same as the tunes employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no comparison. It could even be said that the listening experience to these standards as live performances is as much of a radical take on the jazz of the time as the new compositions of the studio albums listed below.
The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975.
Miles in the Sky and Filles de Kilimanjaro, on which electric bass, electric piano, and electric guitar were tentatively introduced on some tracks, pointed the way to the subsequent fusion phase of Davis's career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.
Electric Miles (1968–75)[link]
The guru-manipulator shifted gears at will in his early-'70s music, orchestrating moods and settings to subjugate the individual musical inspirations of his young close-enough-for-funk subgeniuses to the life of a single palpitating organism that would have perished without them—no arrangements, little composition, and not many solos either, although at any moment a player could find himself left to fly off on his own.
Davis's influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix,[36] many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.
Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard.[citation needed]
In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally."[37] His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music."[38][39] Both Bitches Brew and In a Silent Way feature "extended" (more than 20 minutes each) compositions that were never actually "played straight through" by the musicians in the studio.[citation needed] Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques.[40] Both records, especially Bitches Brew, proved to be big sellers. Starting with Bitches Brew, Davis's albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, Grateful Dead, Neil Young, and Santana[citation needed]. Several live albums were recorded during the early 1970s at these performances: Live at the Fillmore East, March 7, 1970: It's About That Time (March 1970), Black Beauty (April 1970), and Miles Davis at Fillmore: Live at the Fillmore East (June 1970).[36]
By the time of Live-Evil in December 1970, Davis's ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970.[citation needed] In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis's own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him.[citation needed] The resulting album, 1971's A Tribute to Jack Johnson, contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971.
As Davis stated in his autobiography, he wanted to make music for the young African-American audience. On the Corner (1972) blended funk elements with the traditional jazz styles he had played his entire career. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted by the "traditional" jazz radio stations.[citation needed] After recording On the Corner, Davis put together a new group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in Philharmonic Hall for the album In Concert (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune.
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Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It (1974) collected recordings from the previous five years. Get Up With It included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis's most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the US; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order."[citation needed]
After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest."[citation needed] In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his house as a wreck, and detailing his drug and sex addictions.[4] In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis's musical descendants would be in the realm of New Wave rock, and in particular the styling of Prince.
Last decade (1981–91)[link]
By 1979, Davis had rekindled his relationship with actress Cicely Tyson. With Tyson, Davis would overcome his cocaine addiction and regain his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved to be particularly arduous. While recording The Man with the Horn (sessions were spread sporadically over 1979–1981), Davis played mostly wahwah with a younger, larger band.
The initial large band was eventually abandoned in favor of a smaller combo featuring saxophonist Bill Evans and bass player Marcus Miller, both of whom would be among Davis's most regular collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. The Man with the Horn was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording We Want Miles from the ensuing tour, received positive reviews.
By late 1982, Davis's band included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album Star People. In mid-1983, while working on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on The Man with the Horn. With a seven-piece band, including Scofield, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones (later of The Rolling Stones), Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of Aura, an orchestral tribute to Davis composed by Danish trumpeter Palle Mikkelborg.
You're Under Arrest, Davis's next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired November 8, 1985).[43]
You're Under Arrest also proved to be Davis's final album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis's more recent fusion recordings as not being "'true' jazz", comments Davis initially shrugged off, calling Marsalis "a nice young man, only confused". This changed after Marsalis appeared, unannounced, onstage in the midst of Davis's performance at the inaugural Vancouver International Jazz Festival in 1986. Marsalis whispered into Davis's ear that "someone" had told him to do so; Davis responded by ordering him off the stage.[44]
Davis grew irritated at Columbia's delay releasing Aura. The breaking point in the label-artist relationship appears to have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed with Warner Bros. Records shortly thereafter.
Davis collaborated with a number of figures from the British new wave movement during this period, including Scritti Politti.[45] At the invitation of producer Bill Laswell, Davis recorded some trumpet parts during sessions for Public Image Ltd.'s Album, according to Public Image's John Lydon in the liner notes of their Plastic Box box set. In Lydon's words, however, "strangely enough, we didn't use (his contributions)." (Also according to Lydon in the Plastic Box notes, Davis favorably compared Lydon's singing voice to his trumpet sound.)[46]
Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools—programmed synthesizers, samples and drum loops—to create an entirely new setting for his playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.
He followed Tutu with Amandla, another collaboration with Miller and George Duke, plus the soundtracks to four movies: Street Smart, Siesta, The Hot Spot (with bluesman John Lee Hooker), and Dingo. He continued to tour with a band of constantly rotating personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released posthumously, were the hip hop-influenced studio album Doo-Bop and Miles & Quincy Live at Montreux, a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from his 1940s and 1950s recordings for the first time in decades.
In 1988 he had a small part as a street musician in the film Scrooged, starring Bill Murray. In 1989, Davis was interviewed on 60 Minutes by Harry Reasoner. Davis received the Grammy Lifetime Achievement Award in 1990.
In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis's last on film.
Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65.[36] He is buried in Woodlawn Cemetery in The Bronx.[47]
Legacy and influence[link]
Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of music. He has been described as “one of the great innovators in jazz”.[48] The Rolling Stone Encyclopedia of Rock & Roll noted "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music".[49] His album Kind of Blue is the best-selling album in the history of jazz music. On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the United States House of Representatives to recognize and commemorate the album on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music."[50] It passed, unanimously, with a vote of 409–0 on December 15, 2009.[51]
Many well-known musicians rose to prominence as members of Davis's ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster.[citation needed]
As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. These include Wayne Shorter,[52] Cannonball Adderley,[53] Herbie Hancock,[54] Cassandra Wilson,[55] Lalo Schifrin,[56] Tangerine Dream,[57] Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Nile Rodgers, Duane Allman, Pink Floyd, Neil Young, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting,[58] Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, Vassar Clements, Snooky Young, Prince, and Christian Scott.
Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows:
Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance.
His approach, owing largely to the African American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians.[59]
In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music.[60] Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In 2010, Moldejazz premiered a play called Driving Miles, which focused on a landmark concert Davis performed in Molde, Norway, in 1984.
Awards[link]
- Winner; Down Beat Reader's Poll Best Trumpet Player 1955
- Winner; Down Beat Reader's Poll Best Trumpet Player 1957
- Winner; Down Beat Reader's Poll Best Trumpet Player 1961
- Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for Sketches of Spain (1960)
- Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for Bitches Brew (1970)
- Grammy Award for Best Jazz Instrumental Performance, Soloist for We Want Miles (1982)
- Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark)
- Doctor of Music, honoris causa (1986; New England Conservatory)
- Grammy Award for Best Jazz Instrumental Performance, Soloist for Tutu (1986)
- Grammy Award for Best Jazz Instrumental Performance, Soloist for Aura (1989)
- Grammy Award for Best Jazz Instrumental Performance, Big Band for Aura (1989)
- Grammy Lifetime Achievement Award (1990)
- Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel Legrand (1991)
- Knighted into the Legion of Honor (July 16, 1991; Paris)
- Grammy Award for Best R&B Instrumental Performance for Doo-Bop (1992)
- Grammy Award for Best Large Jazz Ensemble Performance for Miles & Quincy Live at Montreux (1993)
- Hollywood Walk of Fame Star (February 19, 1998)
- Rock and Roll Hall of Fame Induction (March 13, 2006)
- Hollywood's Rockwalk Induction (September 28, 2006)
- RIAA Quadruple Platinum for Kind of Blue
- St. Louis Walk of Fame
Discography[link]
Main article: Miles Davis discography
Filmography[link]
| Year | Film | Credited as | Role | Notes | ||
|---|---|---|---|---|---|---|
| Composer | Performer | Actor | ||||
| 1958 | Elevator to the Gallows | Yes | Yes | — | ||
| 1972 | Imagine | Yes | Himself | Cameo, uncredited | ||
| 1985 | Miami Vice | Yes | Ivory Jones | TV series (1 episode - "Junk Love") | ||
| 1986 | Crime Story | Yes | Jazz musician | Cameo, TV series (1 episode - "The War") | ||
| 1987 | Siesta | Yesa | Yes | — | ||
| 1988 | Scrooged | Yes | Yes | Street musician | Cameo | |
| 1992 | Dingo | Yesb | Yes | Yes | Billy Cross | One of Davis' last performances on film |
^a Only one song is composed by Miles Davis in cooperation with Marcus Miller ("Theme For Augustine").
^b Soundtrack is composed by Miles Davis in cooperation with Michel Legrand.
References[link]
- ^ Fadoir, Nick, "Jazz and Hip Hop: You Know, for Kids", The Big Green, Michigan State University, October 15, 2009.
- ^ Considine, J.D., "Jazz And Rap A Jarring Mix", The Baltimore Sun, July 6, 1992
- ^ Gerald Lyn, Early (1998). Ain't but a place: an anthology of African American writings about St. Louis. Missouri History Museum. p. 205. ISBN 1-883982-28-6.
- ^ a b c d e Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0-671-63504-2.
- ^ a b Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece, Da Capo Press, 2001.
- ^ "See the Plosin session database". Plosin.com. 1946-10-18. http://www.plosin.com/milesAhead/Sessions.aspx?s=461018. Retrieved 2011-07-18.
- ^ On this occasion, Mingus bitterly criticized Davis for abandoning his "musical father" (see Autobiography).
- ^ "Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip." Gerry Mulligan "I hear America singing"
- ^ "So I just told them that if a guy could play as good as Lee Konitz played—that's who they were mad about most, because there were a lot of black alto players around—I would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker to play, not for what color he is." Miles Davis, Autobiography
- ^ In his autobiography Davis recalls exploiting prostitutes and getting money from most of his friends.
- ^ In his autobiography, Davis says he never forgave Calloway for that interview. He also says that African Americans were being unfairly singled out as drug users among the larger community of jazz musicians who used drugs at the time.
- ^ Crawford, Mark, "Miles Davis: Evil genius of jazz", ''Ebony'' (January 1961) pp.69–74. Books.google.com. http://books.google.com/books?id=GyvbN5PqVCAC&pg=PA74&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=UGxITf-0Ooeg9ASw7vTXCA&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEUQ6AEwBA#v=onepage&q=Miles%20Davis%20Baker's%20Keyboard%20Lounge&f=false. Retrieved 2011-07-18.
- ^ Neisenson, Eric, ''Round About Midnight: A Portrait of Miles Davis'' Da Capo Press, 1996 ISBN 0-306-80684-3, ISBN 978-0-306-80684-1 pp 88–89. Books.google.com. http://books.google.com/books?id=_-MMx7OGSrQC&pg=PA88&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=jWVITc-lDInE8ASAg-ThCA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDQQ6AEwAQ#v=onepage&q&f=false. Retrieved 2011-07-18.
- ^ Davis, Miles and Troup, Quincy, ''Miles, the Autobiography'', Simon and Schuster, 1990 ISBN 0-671-72582-3, ISBN 978-0-671-72582-2 pp 173–174. Books.google.com. http://books.google.com/books?id=xgAVXHhuNYgC&pg=PA173&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=jWVITc-lDInE8ASAg-ThCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC4Q6AEwAA#v=onepage&q&f=false. Retrieved 2011-07-18.
- ^ "Back in bebop, everybody used to play real fast. But I didn't ever like playing a bunch of scales and shit. I always tried to play the most important notes in the chord, to break it up. I used to hear all them musicians playing all them scales and notes and never nothing you could remember." Miles Davis, The Autobiography.
- ^ Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax (The Land Where the Blues Began. New York: Pantheon, 1993), African American players working in white establishments would avoid references to the blues altogether.
- ^ Davis had asked Monk to "lay off" (stop playing) while he was soloing. In the autobiography, Davis says that Monk "could not play behind a horn". Charles Mingus reported this, and more, in his "Open Letter to Miles Davis".
- ^ Acquired by shouting at a record producer while still ailing after a recent operation to the throat – Autobiography
- ^ Davis began to be referred to as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persists to this day; see, for instance, his obituary in The Nation, and countless references in DVD [1], movies [2] and print articles [3].
- ^ Some inspired by Ahmad Jamal: see, for instance, the performance of "Billy Boy" on Milestones.
- ^ Especially Jones and Coltrane, whom Davis both fired. Davis – Autobiography.
- ^ Cook, op. cit.
- ^ Carr, Ian (1999). Miles Davis: the definitive biography. Thunder's Mouth Press. pp. 192–93. ISBN 978-1-56025-241-2. http://books.google.com/books?id=BmtRIbly1RIC&pg=PA192.
- ^ Lees, Gene. You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press (2001), p. 24
- ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
- ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, , pp. 29–30, 74.
- ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
- ^ RIAA database – Gold & Platinum search item Kind of Blue. Recording Industry Association of America. Retrieved on October 17, 2008.
- ^ US politicians honour Miles Davis album. Radio Netherlands Worldwide
- ^ "US House of Reps honours Miles Davis album – ABC News (Australian Broadcasting Corporation)". Australian Broadcasting Corporation. December 16, 2009. http://www.abc.net.au/news/stories/2009/12/16/2773218.htm. Retrieved January 6, 2011.
- ^ "Taking care of Buddy : News-Record.com : Greensboro & the Triad's most trusted source for local news and analysis". News-Record.com. http://www.news-record.com/content/2009/10/17/article/taking_care_of_buddy. Retrieved January 6, 2011.
- ^ a b c d "Was Miles Davis beaten over blonde?". Baltimore Afro-American. September 1, 1959. http://news.google.com/newspapers?id=5JslAAAAIBAJ&sjid=SfUFAAAAIBAJ&dq=was%20miles%20davis%20beaten%20over%20blonde&pg=3151%2C5145962. Retrieved August 27, 2010.
- ^ "Jazz Trumpeter Miles Davis In Joust With Cops". Sarasota Journal. August 26, 1959. http://news.google.com/newspapers?id=3PQeAAAAIBAJ&sjid=4ooEAAAAIBAJ&pg=2499,2153156&dq=miles-davis+arrested&hl=en. Retrieved August 27, 2010.
- ^ Waters, Keith (2011). The Studio Recordings of the Miles Davis Quintet, 1965–68. Oxford University Press. pp. 257–258. ISBN 978-0-19-539383-5.
- ^ Christgau, Robert. Robert Christgau: CG: Miles Davis. Robert Christgau. Retrieved on 2011-07-03.
- ^ a b c "Miles Davis". The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and Museum, Inc.. http://www.rockhall.com/inductee/miles-davis. Retrieved June 29, 2009.
- ^ Chambers, J. K. (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp. 246.. ISBN 0-306-80849-8.
- ^ Carr, Ian (1998). Miles Davis: The Definitive Biography. Thunder's Mouth Press. pp. 284, 303, 304, 306. ISBN 1-56025-241-3.
- ^ Tingen, Paul (Thursday, April 17, 2008 5:02:21 pm). "Miles Beyond: The Making of Bitches Brew". http://www.miles-beyond.com/bitchesbrew.htm. Retrieved June 29, 2009.
- ^ Freeman, Philip (November 1, 2005). Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books. pp. 83–84. ISBN 978-0-87930-828-5.
- ^ Kolosky, Walter (December 31, 2008). Miles Davis: Go Ahead John (part two C) – Jazz.com | Jazz Music – Jazz Artists – Jazz News. Jazz.com. Retrieved on April 3, 2011.
- ^ Freeman, Phil (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. p. 92. ISBN 0-87930-828-1.
- ^ "Miami Vice" Junk Love (1985) at the Internet Movie Database
- ^ Miles: The Autobiography, Picador, p. 364.
- ^ Intro.de article (in German).
- ^ "Fodderstompf". Fodderstompf. March 10, 2009. http://www.fodderstompf.com/DISCOGRAPHY/LP/3albumLP.html. Retrieved January 6, 2011.
- ^ Latest activity 5 hours ago. "Dark Magus: The Jekyll and Hyde Life of Miles Davis (9780879308759): Gregory Davis, Les Sussman, Clark Terry: Books". Amazon.com. http://www.amazon.com/dp/0879308753. Retrieved January 6, 2011.
- ^ The Complete Jack Johnson Sessions Review. BBC
- ^ Miles David Biography. Rolling Stone Magazine
- ^ Associated Press article published December 15, 2009[dead link]
- ^ "House Resolution H.RES.894". Clerk.house.gov. 2009-12-15. http://clerk.house.gov/evs/2009/roll971.xml. Retrieved 2011-07-18.
- ^ Wayne Shorter: Artist Profile. Rolling Stone
- ^ Cannonball Adderley: Artist Profile. Rolling Stone
- ^ Herbie Hancock: Artist Profile. Rolling Stone
- ^ Traveling Miles. Jazz Times
- ^ Lalo Schifrin Biography. Allmusic
- ^ Tangerine Dream Biography. Allmusic
- ^ Sting Biography. Allmusic
- ^ Christopher Smith, "A Sense of the Possible. Miles Davis and the Semiotics of Improvised Performance". TDR, Vol. 39, No. 3 (Autumn, 1995), pp. 41–55.
- ^ NEC Honorary Doctor of Music Degree. New England Conservatory
Bibliography[link]
- Carr, Ian. Miles Davis. ISBN 0-00-653026-5.
- Chambers, Jack. Milestones: The Music and Times of Miles Davis. ISBN 0-306-80849-8.
- Cole, George. The Last Miles: The Music of Miles Davis 1980–1991. ISBN 1-904768-18-0.
- Cook, Richard (2007). "It's About That Time: Miles Davis On and Off Record". Oxford University Press. ISBN 978-0-19-532266-8
- Cook, Richard, and Brian Morton. Entry "Miles Davis" in Penguin Guide to Jazz, Penguin, ISBN 0-14-017949-6.
- Davis, Miles & Troupe, Quincy. Miles: The Autobiography. ISBN 0-671-63504-2.
- Davis, Gregory. Dark Magus: The Jekyll & Hyde Life of Miles Davis. ISBN 978-0-87930-875-9.
- Early, Gerald. Miles Davis and American Culture. ISBN 1-883982-37-5 cloth, ISBN 1-883982-38-3, paper.
- Szwed, John. So What: The Life of Miles Davis. ISBN 0-434-00759-5.
- Tingen, Paul. Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. ISBN 0-8230-8360-8. [4]
- Mandel, Howard (2007). Miles, Ornette, Cecil: Jazz Beyond Jazz. Routledge. ISBN 0-415-96714-7.
External links[link]
 |
Wikiquote has a collection of quotations related to: Miles Davis |
 |
Wikimedia Commons has media related to: Miles Davis |
- Miles Davis at Find A Grave
- Miles Davis – official website.
- Miles Davis – official Sony Music website.
- Miles Davis at Allmusic
- Miles Davis collected news and commentary at The New York Times
- Miles Davis collected news and commentary at The Guardian
- Works by or about Miles Davis in libraries (WorldCat catalog)
- Miles Davis's '70s: The Excitement! The Terror! — Robert Christgau, The Village Voice
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| Persondata | |
|---|---|
| Name | Davis, Miles Dewey Davis III |
| Alternative names | |
| Short description | Jazz trumpeter |
| Date of birth | May 26, 1926 |
| Place of birth | Alton, Illinois |
| Date of death | September 28, 1991 |
| Place of death | Santa Monica, California |
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