Coronet of a count (Spanish Heraldry)

Royal, noble and chivalric ranks

Emperor & Empress consort Empress & Emperor consort

Empress dowager or Empress mother

King & Queen consort or Princess consort Queen & King consort or Prince consort

Queen dowager or Queen mother Princess dowager or Princess mother

Grand Duke & Grand Duchess Grand Prince & Grand Princess

Viceroy & Vicereine

Archduke & Archduchess Infante & Infanta

Duke & Duchess Prince & Princess

Marquess & Marchioness Marquis & Marquise Margrave & Margravine

Count & Countess Earl & Countess

Viscount & Viscountess

Baron & Baroness Freiherr & Freifrau

Baronet & Baronetess Hereditary Knight, Ritter

Knight & Dame

Nobile, Edler von

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A count (male) or countess (female) is an aristocratic nobleman in European countries. The word count came into English from the French comte, itself from Latin comes—in its accusative comitem—meaning "companion", and later "companion of the emperor, delegate of the emperor". The adjective form of the word is "comital". The British and Irish equivalent is an earl (whose wife is a "countess", for lack of an English term). Alternative names for the "Count" rank in the nobility structure are used in other countries, such as Graf in Germany, Graaf in the Netherlands and Hakushaku during the Japanese Imperial era.

Definition[link]

In the late Roman Empire, the Latin title comes meaning (imperial) "companion" denoted the high rank of various courtiers and provincial officials, either military or administrative: before Anthemius was made emperor in the West in 467, he was military comes charged with strengthening defenses on the Danube frontier.^[1]

In the Western Roman Empire Count came to generically indicate a military commander, but was not a specific rank. In the Eastern Roman Empire, from about the seventh century, a count was a specific rank indicating the commander of two centuries (i.e. 200 men).

Military counts in the Late Empire and the Germanic successor kingdoms were often appointed by a dux and later by a king. From the start the count was in charge, not of a roving warband, but settled in a locality, a countship, his main rival for power being the bishop, whose diocese was often coterminous.

In many Germanic and Frankish kingdoms in the early Middle Ages, the count might also be a count palatine, whose authority derived directly from the royal household, the "palace" in its original sense of the seat of power and administration. This other kind of count had vague antecedents in Late Antiquity too: the father of Cassiodorus held positions of trust with Theodoric, as comes rerum privatarum, in charge of the imperial lands, then of comes sacrarum largitionum (concerned with the strictly monetary fiscal matters of the realm).^[2]

The position of comes was originally not hereditary. By holding large estates, many counts were able to make it a hereditary title—though not always. For instance, in Piast Poland, the position of komes was not hereditary, resembling the early Merovingian institution. The title had disappeared by the era of the Polish-Lithuanian Commonwealth, and the office replaced with other institutions. Only after the Partitions of Poland did the title of "count" re-surface in the German-derived title hrabia.

The title of Count was also often conferred by the monarch as an honorific title for special services rendered, without an actual feudal estate (countship, county), just a title, with or without a domain name attached to it. In the UK, the equivalent Earl is often a courtesy title for the eldest son of a duke. In the United Kingdom stringent rules apply, often a future heir has a lower ranking courtesy title; in Italy, by contrast, all the sons of certain counts are counts (contini). In Sweden there is a distinction between counts (Swedish: greve) introduced before 1809 and after. All children in countship families introduced before 1809 are called count/countess. In families introduced after 1809 only the head of the family is called count, the rest had a status similar to barons and were called Mr. and Ms./Mrs. (before the use of titles was abolished).

Comitial titles in different European languages[link]

The following lists are originally based on a Glossary on Heraldica.org by Alexander Krischnig. The male form is followed by the female, and when available, by the territorial circumscription.

[edit] Etymological derivations from the Latin comes

[edit] Etymological parallels of the German Graf (some unclear)

Compound and related titles[link]

Apart from all these, a few unusual titles have been of comital rank, not necessarily to remain there.

• Dauphin (English: Dolphin; Spanish: Delfín; Italian: Delfino Latin: Delphinus) was a multiple (though rare) comital title in southern France, used by the Dauphins of Vienne and Auvergne, before 1349 when it became the title of the heir to the French throne. The Dauphin was the lord of the province still known as the région Dauphiné
• Conde-Duque "Count-Duke" is a rare title used in Spain, notably by Gaspar de Guzmán, Count-Duke of Olivares who had inherited the title of count of Olivares, but being created Duke of Sanlucar la Mayor by King Philip IV of Spain begged permission to preserve his inherited title in combination with the new honour—according to a practice almost unique in Spanish history; logically the incumbent ranks as Duke (higher than Count) just as he would when simply juxtapositioning both titles.

• Conde-Barão 'Count-Baron' is a rare title used in Portugal, notably by D. Luís Lobo da Silveira, 7th Baron of Alvito, who received the title of Count of Oriola in 1653 from King John IV of Portugal. His palace in Lisbon still exists, located in a square named after him (Largo do Conde-Barão).

• Archcount is a very rare title, etymologically analogous to archduke, apparently never recognized officially, used by or for:
  • the count of Flanders (an original pairie of the French realm in present Belgium, very rich, once expected to be raised to the rank of kingdom); the informal, rather descriptive use on account of the countship's de facto importance is rather analogous to the unofficial epithet Grand Duc de l'Occident (before Grand duke became a formal title) for the even wealthier Duke of Burgundy
  • at least one Count of Burgundy (i.e. Freigraf of Franche-Comté)
• In German kingdoms, the title Graf was combined with the word for the jurisdiction or domain the nobleman was holding as a fief and/or as a conferred or inherited jurisdiction, such as "Markgraf" (Margrave—see also Marquess), "Landgraf" ("landgrave"), "Freigraf" ("free count"), "Burggraf" ("Burgrave", where burg signifies castle; see also Viscount), Pfalzgraf (see (Count) Palatine), "Raugraf" (Raugrave, see "graf". Originally a unique title) and "Waldgraf" (waldgrave (comes nemoris), where wald signifies a large forest).
• The German Graf and Dutch graaf (Latin: Grafio) stems from the Byzantine-Greek grapheus meaning "he who calls a meeting [i.e. the court] together").^{[citation needed]}
• These titles are not to be confused with various minor administrative titles containing the word -graf in various offices which are not linked to nobility of feudality, such as the Dutch titles Pluimgraaf (a court sinecure, so usually held by noble courtiers, may even be rendered hereditary) and Dijkgraaf (to the present, in the Low Countries, a managing official in the local or regional administration of water household trough dykes, ditches, controls etcetera; also in German Deichgraf, synonymous with Deichhauptmann, "dike captain").

Lists of countships[link]

Territory of today's France[link]

West-Francia proper[link]

Since Louis VII (1137–80), the highest precedence amongst the vassals (Prince-bishops and secular nobility) of the French crown was enjoyed by those whose benefice or temporal fief was a pairie, i.e. carried the exclusive rank of pair; within the first (i.e. clerical) and second (noble) estates, the first three of the original twelve anciennes pairies were ducal, the next three comital comté-pairies:

• Bishop-counts of Beauvais (in Picardy)
• Bishop-counts of Châlons (in Champagne)
• Bishop-counts of Noyon (in Picardy)
• Count of Toulouse, until united to the crown in 1271 by marriage
• Count of Flanders (Flandres in French), which is in the Low countries and was confiscated in 1299, though returned in 1303
• Count of Champagne, until united to the crown (in 1316 by marriage, conclusively in 1361)

Later other countships (and duchies, even baronies) have been raised to this French peerage, but mostly as apanages (for members of the royal house) or for foreigners; after the 16th century all new peerages were always duchies and the medieval countship-peerages had died out, or were held by royal princes

Other French countships of note included those of:

• Count of Angoulême, later Dukes
• Count of Anjou, later Dukes
• Count of Auvergne
• Count of Bar, later Dukes
• Count of Blois
• Count of Boulogne
• Count of Foix
• Count of Montpensier
• Count of Poitiers
• Count of Saint Germain

Parts of today's France long within other kingdoms of the Holy Roman Empire[link]

• Freigraf ("free count") of Burgundy (i.e. present Franche-Comté)
• The Dauphiné

The Holy Roman Empire[link]

See also above for parts of present France

In Germany[link]

A Graf ruled over a territory known as a Grafschaft, literally 'countship' (also rendered as 'county'). See also various comital and related titles; especially those actually reigning over a principality that can be rendered as countship: Gefürsteter Graf, Landgraf, Reichsgraf; compare Markgraf, Pfalzgraf

In Italy[link]

The title of Conte is very prolific on the peninsula, and modern counts occupy the position in rural society comparable to an English squire, members of rural gentry. In the eleventh century however, conti like the Count of Savoia or the Norman Count of Apulia, were virtually sovereign lords of broad territories. Even apparently "lower"-sounding titles, like Viscount, could describe powerful dynasts, such as the Visconti family who ruled a major city such as Milan. The essential title of a feudatory, introduced by the Normans, was signore, modelled on the French seigneur, used with the name of the fief. By the fourteenth century, conte and the Imperial title barone were virtually synonymous, but some titles of count, according to the particulars of the patent, might be inherited by the eldest son of a Count. Other younger brothers might be distinguished as "X dei conti di Y" ("X of the counts of Y"). However if there is no male to inherit the title and the count has a daughter, she can inherit the title: for example the Countess Luisa Gazelli di Rossana e di Sebastiano, mother of Queen Paola of Belgium. The Papacy and the Kingdom of the Two Sicilies might appoint counts palatine with no particular territorial fief. Until 1812 in some regions, the purchaser of land designated "feudal" was ennobled by the noble seat that he held and became a conte. This practice ceased with the formal abolition of feudalism in the various principalities of early-19th century Italy, last of all in the Papal States.

Many Italian counts left their mark on Italian history as individuals, yet only a few contadi (countships; the word contadini for its inhabitants remains the Italian word for "peasant") were politically significant principalities, notably:

• Norman Count of Apulia
• Count of Savoy, later Duke (also partly in France and in Switzerland)
• Count of Asti
• Count of Montferrat (Monferrato)
• Count of Montefeltro
• Count of Tusculum

Holy See[link]

Christopher de Paus, a Norwegian convert to Roman Catholicism, a papal chamberlain and a relative of Henrik Ibsen, was conferred the title of count by Pope Pius XI

Count is one of the noble titles granted by the Pope as a temporal sovereign and the title's holder is sometimes informally known as a papal count or less so as a Roman count, often confused with the hereditary Roman nobility since the restoration of the Papal States in 1815. The comital title, which can be for life or hereditary, has been awarded in various forms by popes and Holy Roman Emperors since the Middle Ages, infrequently before the 14th century, and the pope continued to grant the comital and other noble title even after 1870, especially to prominent foreign Catholics. This comital title is no longer conferred, although titles already granted are recognised by the Holy See. By the Lateran Accord of 1929, the Italian government recognized and confirmed the pope's power to grant nobilary titles, and the titles granted by the Pope were considered equivalent to Italian titles. American Francis A. MacNutt, a papal chamberlain at the Vatican and a papal knight was also a papal marquis, having his noble title conferred by Pius X. American financier George MacDonald of New York was created a papal marquis in the 1930s and Long Island philanthropist Genevieve Brady was created a papal duchess by Pope Pius XI in the 1930s. However, noble titles have not been generously granted since Pope Pius XII. Count John McCormack and Countess Rose Kennedy were some of the last few to receive this honor. With Paul VI, who responded to the formal Christmas message of the patriciate by declaring that the papal nobility would no longer be a constituent body in the papal court, the custom essentially disappeared. Pope John Paul II did grant several noble titles to Polish compatriots at the beginning of his pontificate, but quietly and without their being published in the Acts of The Apostolic See. The popes continue to award knighthoods and medals of merit on a regular basis which do not confer noble status.^[3]

In Austria[link]

The principalities tended to start out as margraviate and/or (promoted to) duchy, and became nominal archduchies within the Habsburg dynasty; noteworthy are:

• Count of Tyrol
• Count of Cilli
• Count of Schaumburg

In Poland[link]

Numerous small ones, particularly:

• Counts of Galicia and Poland
• Count Zaleski

In Galicia (Central Europe)[link]

Particularly see:

• Counts of Galicia

In the Low Countries[link]

Apart from various small ones, significant were :

• in present Belgium :
  • Count of Flanders (Vlaanderen in local Dutch), but only the small part east of the river Schelde remained within the empire; the far larger west, an original French comté-pairie became part of the French realm
  • Count of Hainaut
  • Count of Namur, later a margraviate
  • Count of Leuven (Louvain) soon became the Duke of Brabant
  • Count of Mechelen, though the Heerlijkheid Mechelen was given the title of "Graafschap" in 1490, the city was rarely referred to as a county and the title of Count has not been in practical use by or for anyone of the series of persons that became rightfully entitled to it; the flag and weapon of the municipality still has the corresponding heraldic crowned single-headed eagle of sabre on gold.^[4][5]
• in the present Dutch kingdom of the Netherlands:
  • Count of Holland
  • Count of Zeeland
  • Count of Zutphen

In Switzerland[link]

• Count of Neuenburg
• Count of Toggenburg
• Count of Kyburg
• Count de Salis-Soglio
• Count of Panzutti

In other continental European countries[link]

In Iberia[link]

As opposed to the plethora of hollow "gentry" counts, only a few countships ever were important in medieval Iberia; most territory was firmly within the Reconquista kingdoms before counts could become important. However, during the 19th century, the title, having lost its high rank (equivalent to that of Duke), proliferated.

Portugal[link]

Portugal itself started as a countship in 868, but became a kingdom in 1139 (see:County of Portugal). Throughout the History of Portugal, especially during the Constitutional Monarchy many other countships were created (see: List of Countships in Portugal).

Spain[link]

In Spain, no countships of wider importance exist, except in the former Spanish march.^{[citation needed]}

• Count of Barcelona – it became integrated in the kingdom of Aragon, which became one of the two main components of the Spanish realm
• Count of Aragon
• Count of Castile
• Count of Galicia
• Count of Lara
• Count Cassius, progenitor of the Banu Qasi
• Count of Urgel
• Count of Pontevedra

• The other counts in Catalonia were much smaller and got absorbed into Barcelona/Aragon: Cerdanya, Ampurias, Conflans, Pallars, Roussillon (in present France).

In Bulgaria[link]

In the First Bulgarian Empire, a komit was a hereditary provincial ruler under the tsar documented since the reign of Presian (836-852)^[6] The Cometopouli dynasty was named after its founder, the komit of Sredets.

Crusader states[link]

• Count of Edessa
• Count of Tripoli (1102–1288)

Equivalents[link]

Like other major Western noble titles, Count is sometimes used to render certain titles in non-western languages with their own traditions, even though they are as a rule historically unrelated and thus hard to compare, but which are considered "equivalent" in rank.

This is the case with:

• the Chinese Bó (伯), hereditary title of nobility ranking below Hóu (侯) and above Zĭ (子)
• the Japanese equivalent Hakushaku (伯爵), adapted during the Meiji restoration
• the Korean equivalent Baekjak or Poguk
• in Vietnam, it is rendered Bá, one of the lower titles reserved for male members of the Imperial clan, above Tử (Viscount), Nam (Baron) and Vinh phong (lowest noble title), but lower than—in ascending order—Hầu (Marquis), Công (Prince), Quan-Cong (Duke) and Quốc-Công (Grand Duke), all under Vương (King).
• the Indian Sardar, adopted by the Maratha Empire

See also[link]

• County

References[link]

Sources[link]

• Labarre de Raillicourt: Les Comtes Romains
• Westermann, Großer Atlas zur Weltgeschichte (in German)

External links[link]

Look up count in Wiktionary, the free dictionary.

• Heraldica.org - here the French peerage
• Italian Titles of Nobility
• Webster's 1828 Dictionary

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

Count von Count, often known simply as "the Count", is one of the Muppet characters on Sesame Street, performed by Jerry Nelson. The Count is a vampire modeled after Bela Lugosi's interpretation of Count Dracula.

Description[link]

The Count's main purpose is educating children on simple mathematical concepts, most notably counting. The Count has a love of counting (arithmomania); he will count anything and everything, regardless of size, amount, or how much annoyance he is causing the other Muppets or human cast. His favorite number is 230, which is referring to an inside joke about the time 2:30. The Count mentions 2:30 at an any chance he can get and often makes jokes about it. During the afternoon, his segments of the show always come on at exactly 2:30 p.m. or during the "fashionably late" segment, which airs at 2:31. For instance, he once prevented Ernie from answering a telephone because he wanted to continue counting the number of rings. Another time, while serving as an elevator operator, he refused to let Kermit the Frog get out at his selected floor so he could count on every floor in the building.

The Count lives in an old, cobweb-infested castle which he shares with many bats. Sometimes he counts them. Some of the pet bats are named, including Grisha, Misha, Sasha, and Tatiana. He has a cat, Fatatita, as well. Sometimes he counts her. He also drives a special car designed in the features of a bat, named the Countmobile.

The Count has been shown with a number of girlfriends. Always a feminized version of the Count Muppet, they have included Countess von Backwards (debuting in Sesame Street's 28th season) who counts backwards; Countess Dahling von Dahling (debuted in the 12th season), and one simply named "The Countess" (first appearing in season 8). The von Count family also includes an unnamed brother and mother as well as an Uncle Uno and grandparents.

[edit] History and evolution of the character on Sesame Street

The Count debuted on Sesame Street in Season 4 (1972–73), and was conceived by Norman Stiles, who wrote the first script. The Count was performed by Jerry Nelson, who brought the character to life. He was originally made out of the Large Lavender Live Hand Anything Muppet pattern.

In the early 1970s, following a counting session, the Count would laugh maniacally, "AH AH AH AH AH!", accompanied by thunder and lightning flashes. He wouldn't let anything interrupt his counting, and used hypnotic powers to temporarily stun people with a wave of his hands.^{[citation needed]} This practice, however, was discontinued in the mid-1970s because of concern that young viewers would become frightened. In the mid-1970s, the Count became friendlier, did not have hypnotic powers, and interacted more with the characters (both live actors and Muppets). His laugh also changed from maniacal laughter to a more triumphant, stereotypical Dracula-style laugh.

Belvedere Castle, in New York's Central Park, was used for exterior establishing shots of the Count's castle on the show.

The Count made an appearance in the film The Muppets Take Manhattan at Kermit the Frog and Miss Piggy's wedding, then in the Sesame Street movies Follow That Bird and Elmo in Grouchland. Notably, the Count appeared on-screen during the closing credits of Follow That Bird where he proceeded to read and count the credits.

In Season 33, the Count got a daily segment on Sesame Street, simply called The Number of the Day.

Influences and resemblances[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (February 2011)

When the Count sings, the background music resembles Romani music, no matter what the song. The original "Song of the Count" was written by Jeff Moss as a traditional Hungarian Csárdás. The "Batty Bat" was another popular song by the Count, in a similar style, but waltzified.

Some traditional vampire myths depict vampires as having a similar fixation with counting small objects, providing a means of distracting them by tossing a handful of seeds or salt on the ground. This is seen as a protection from the vampire, similar to the use of garlic (by which he is not repelled).^[1][2] The Count's own arithmomania may simply be a coincidence, however, inspired by the pun on his title of nobility and his educational purpose. According to his theme song, "The Song of the Count": "When I'm alone, I count myself. One count!"

The Count bears a noticeable resemblance to Bela Lugosi as Count Dracula, including a similar accent and oversized, pointed canine teeth (better known as fangs, although Lugosi himself did not bear fangs in the 1931 film), but it would appear that he is different from other vampires, besides sporting a goatee and monocle. For example, most vampires wither in direct sunlight; the Count does not and, in fact, enjoys being outside. Additionally, the Count does not suck or drink blood (nor has any association with blood), change into a bat (even though he does have bat companions) or sleep in a coffin; instead he uses a normal bed. In many ways, he is more like a regular human than a vampire. However, the Count still has one vampiric trait: he has no reflection in mirrors.

Internationally[link]

• In the Dutch version of the series, Sesamstraat, the Count's name is Graaf Tel (literally, "Count Count").
• In the French series 1, Rue Sésame, his name is Comte von Compte.
• In the German series Sesamstraße, his name is Graf Zahl (literally, "Count Number").
• In the Hebrew series Rechov Sumsum, his name is 'מר סופר', phonetically pronounced 'Mar Sofer', which literally means "Mr. Counter".
• In the Mexican series Plaza Sésamo, his name is Conde Contar (literally, "Count Count").
• In the Polish series Ulica Sezamkowa, his name is Liczyhrabia (literally, "Countcount").
• In the Portugal series Rua Sésamo, his name is Conde de Contar (translated as "Count of Counting").
• In the Russian series Улица Сезам, his name is Znak (Знак) (translated as "figure", "character" or "sign").
• In the Spanish series, Barrio Sésamo, his name is Conde Draco.
• In the Turkish series Susam Sokağı, his name is Sayıların Kontu (literally, "The Count of Numbers")

[edit] Appearances outside of Sesame Street

• The Count appeared on a video package aired on the first episode of The Late Show with David Letterman that was shown after Letterman's emergency quintuple bypass operation. He appeared as a surgeon in an operating theater, counting "One bypass... AH AH AH! Two bypass..."^{[citation needed]}
• In a Dancing with the Stars results show that aired on October 2, 2007, a fake backstage sequence with Jimmy Kimmel claimed that votes for the show are tabulated by The Count, who was depicted as being thrown into a panic by the discovery that "Mel B" and "Scary Spice" are in fact the same person.
• The Count was interviewed on the BBC Radio 4 programme More or Less on December 11, 2009, where he mentioned his favorite number, 34969.
• He appeared on the Halloween edition of SportsCenter to count down the top ten trickplays of the 2010 college football season.
• He appeared in the MAD episode Mouse M.D along with Cookie Monster.
• He was a guest on Countdown with Keith Olbermann for the first anniversary episode.
• He attended the 100th anniversary of the Island Public School and gave a speech to help celebrate the 100th Day of School in 2008.
• An animated version of the Count appeared in the 2010 The Simpsons Treehouse of Horror episode "Tweenlight", aired Nov. 7, 2010. The Count enumerated the kisses Edward (voiced by Daniel Radcliffe) gave Lisa.
• A parody of the Count appeared in an episode of Frankenhole as a character called "Count Along With Me".

References in popular culture[link]

• The St. Paul Saints, an independent minor-league baseball team in St. Paul, Minnesota known for unique and sometimes over-the-top promotions, announced that it would give away 2,500 bobblehead dolls dressed as the Count at its May 23, 2009 game. However, instead of the Count's regular head, this doll's head featured Al Franken on one side and Norm Coleman on the other, and was called "Count von Re-Count"—referring to the extraordinarily prolonged recount and legal battle surrounding the 2008 U.S. Senate election between the two men. The team made further jabs at the election during the game.^[3]
• Australian rugby league football international Anthony Minichiello has been nicknamed 'The Count' due to his striking resemblance to the character.^[4]
• Dave Chapelle has compared the Count to a pimp in his standup routines.

Notes and references[link]

External links[link]

• Count von Count on Muppet Wiki, an external wiki

Bruno Mars
Bruno Mars performing in Las Vegas, Nevada on September 19, 2010
Background information
Birth name	Peter Gene Hernandez
Born	(1985-10-08) October 8, 1985 (age 26)[1] Honolulu, Hawaii, U.S.
Genres	Reggae fusion, pop, soul, R&B
Occupations	Singer-songwriter, record producer, model, dancer
Instruments	Vocals, drums, guitar, keyboard, bass, piano, harmonica
Years active	2005–present
Labels	Atlantic, Elektra
Associated acts	The Smeezingtons
Website	www.brunomars.com

Peter Gene Hernandez (born October 8, 1985), better known by his stage name Bruno Mars, is an American singer-songwriter and record producer. Raised in Honolulu, Hawaii by a family of musicians, Mars began making music at a young age. He performed in various musical venues in his hometown throughout his childhood. He graduated from high school and then moved to Los Angeles, California to pursue a musical career. Mars produced songs for other artists, joining production team The Smeezingtons.

Mars had an unsuccessful stint with Motown Records, but then signed with Atlantic Records in 2009. He became recognized as a solo artist after lending his vocals and co-writing the hooks for the songs "Nothin' on You" by B.o.B, and "Billionaire" by Travie McCoy. He also co-wrote the hits "Right Round" by Flo Rida featuring Ke$ha, and "Wavin' Flag" by K'naan. In October 2010, he released his debut album, Doo-Wops & Hooligans. Anchored by the worldwide number-one singles "Just the Way You Are" and "Grenade", the album peaked at number three on the Billboard 200.^[2] Mars was nominated for seven Grammys at the 53rd Grammy Awards, winning Best Male Pop Vocal Performance for "Just the Way You Are".

Mars' music is noted for displaying a wide variety of styles and influences, and contains elements of many musical genres. He has worked with an assortment of artists from various genres. Mars acknowledges the influences that his collaborations have had on his own music. As a child, he was highly influenced by artists such as Little Richard,^[3] Elvis Presley and Michael Jackson and would often impersonate these artists from a young age. Mars also incorporates reggae and Motown inspired sounds into his work. Jon Caramanica of The New York Times referred to Mars as "one of the most versatile and accessible singers in pop."^[4] Worldwide, Mars became the best-selling digital artist in 2011. He had three singles in the top ten, including first place with "Just The Way You Are," which sold 12.5 million copies.^[5] Mars won Best International Male Solo Artist at the BRIT Awards in 2012.^[6] Bruno Mars has sold 5 million albums and 36 million singles worldwide.^[7]

Early life[link]

Bruno Mars was born Peter Gene Hernandez on October 8th, 1985, and raised in the Waikiki neighborhood of Honolulu, Hawaii, by parents Pete Hernandez, of Puerto Rican descent, and Bernadette "Bernie," a Filipina.^{[8][9][10][11]} His mother emigrated to Hawaii from the Philippines as a child and his father moved to the island from Brooklyn, New York.^[12] Mars' parents met while performing in a show, where his mother was a hula dancer and his father played percussion.^[12] At the age of two, he was nicknamed "Bruno" by his father, because of his resemblance to legendary professional wrestler Bruno Sammartino.^[13]

Mars was one of six children and came from a musical family who exposed him to a diverse mix of reggae, rock, hip hop, and R&B.^[14][15] In addition to being a dancer, his mother was a singer and his father used his musical ability to perform Little Richard rock n roll music.^[3] Mars' uncle was an Elvis impersonator. By the age of three his uncle had Mars up on the stage performing. He also performed songs by artists such as Michael Jackson, The Isley Brothers, and The Temptations.^[10] At age four, Mars began performing five days a week with his family's band, The Love Notes, in which he became known on the island for his impersonation of Presley.^[16]

In 1990, Mars was featured in MidWeek as "Little Elvis", going on to have a cameo in the film Honeymoon in Vegas in 1992.^[10][17] He later reflected on the influence Presley had on his music: "I watch the best. I'm a big fan of Elvis. I'm a big fan of 1950s Elvis when he would go on stage and scare people because he was a force and girls would go nuts! You can say the same thing for Prince or The Police. It's just guys who know that people are here to see a show, so I watch those guys and I love studying them because I'm a fan."^[18] In 2010, he also acknowledged his Hawaiian roots and musical family as an influence, explaining, "Growing up in Hawaii made me the man I am. I used to do a lot of shows in Hawaii with my father's band. Everybody in my family sings, everyone plays instruments...I've just been surrounded by it."^[19] In 2003, shortly after graduating from President Theodore Roosevelt High School at the age of seventeen, Mars moved to Los Angeles, California, to pursue a musical career.^[10][17] He adopted his stage name from the nickname his father gave him, adding "Mars" at the end because "I felt like I didn't have [any] pizzazz, and a lot of girls say I’m out of this world, so I was like I guess I'm from Mars."^[20]

Career[link]

[edit] 2004–10: Career beginnings and It's Better If You Don't Understand

Bruno Mars performing in Houston, Texas in November 2010.

Shortly after moving to Los Angeles, Mars signed to Motown Records in 2004, in a deal that "went nowhere".^[21] However, Mars' experience with Motown proved to be beneficial to his career when he met songwriter and producer Philip Lawrence, who was also signed to the label. Mars, Lawrence, and engineer Ari Levine began writing songs together, and formed the production team The Smeezingtons.^[21] In 2006, Lawrence introduced Mars to his future manager at Atlantic Records, Aaron Bay-Schuck.^[22] After hearing him play a couple of songs on the guitar, Bay-Schuck wanted to sign him immediately, but it took about three years for Atlantic records to finally sign Mars to the label.^[22] In the meantime, Bay-Schuck hired Mars and the Smeezingtons to write and produce songs for the label's artists.^[22] According to Bay-Schuck in an interview with HitQuarters, Mars had stated that although his ultimate goal was to be a solo artist, he was willing to write and produce for other artists, both to help improve his songwriting and help him discover the type of artist he ultimately wanted to be.^[22] Bay-Schuck credits this as a period of "self-discovery" that contributed significantly to Mars' later success.^[22]

Before becoming a successful solo artist, Hernandez was an acknowledged music producer, writing songs for Alexandra Burke, Travie McCoy, Adam Levine, Brandy, Sean Kingston, and Flo Rida.^[14][23] He also co-wrote the Sugababes' hit song "Get Sexy" and provided backing vocals on their album Sweet 7.^[24][25] His first musical appearance as a singer was in Far East Movement's second studio album Animal, featured on the track "3D".^[26] He was also featured on pastor and hip hop artist Jaeson Ma's debut single "Love" in August 2009.^[27][28] He reached prominence as a solo artist after being featured on and co-writing B.o.B's "Nothin' on You" and Travie McCoy's "Billionaire"; both songs peaked within the top ten of many charts worldwide.^{[29][30][31][32]} He said of them, "I think those songs weren't meant to be full-sung songs. If I'd sung all of "Nothin' on You", it might've sounded like some '90s R&B." Following this success, Mars released his debut extended play (EP), titled It's Better If You Don't Understand, on May 11, 2010.^[33] The EP peaked at the 99th position on the Billboard 200 and produced one single, "The Other Side", featuring singers Cee Lo Green and B.o.B.^[34][35] Mars collaborated with Green once more in August 2010 by co-writing his single "Fuck You!". He performed a medley of "Nothin' on You" and "Airplanes" with B.o.B and Hayley Williams at the 2010 MTV Video Music Awards on September 12, 2010.^[36]

[edit] 2010–present: Doo-Wops & Hooligans

Bruno Mars' debut album, Doo-Wops & Hooligans, was released digitally on October 4, and saw its physical release on October 5, 2010.^[37][38] The lead single, "Just the Way You Are", was released on July 19, 2010,^[39] and has reached the top of the Billboard Hot 100 as well as several other charts worldwide.^[40][41] The music video was released on September 8, 2010.^[42] The second single, "Grenade", was released September 28, 2010, and has also seen successful international chart performance.^[43][44] In the United States, Doo-Wops & Hooligans debuted at number three on the Billboard 200 for the week of October 13, 2010, selling 55,000 copies.^[2] The album also received generally positive reviews from critics. Entertainment Weekly's Leah Greenblatt praised Mars for his "instant-access melodies" and "sly snatches of dance-floor swagger", but noted weaknesses in songs deviant from his conventional pop and soul genres.^[45] He opened for Maroon 5 on the fall leg of the Hands All Over Tour starting October 6, 2010 and co-headlined with McCoy on a European tour starting October 18, 2010.^[38]

On September 19, 2010, Mars was arrested in Las Vegas for possession of cocaine.^[46] When talking to a police officer, Mars reportedly stated that what he did was "foolish" and that "he has never used drugs before".^[47][48] Mars pled guilty to felony drug possession, and in return for his plea, he was told that the charges would be erased from his criminal record as long as he stayed out of trouble for a year, paid a $2,000 fine, did 200 hours of community service and completed a drug counseling course.^[49]

On February 13, 2011, Mars won his first Grammy Award for Best Male Pop Vocal Performance, having received six nominations; Best Rap Song and Best Rap/Sung Collaboration for "Nothin' on You", Record of the Year for "Nothin' on You" and "Fuck You", Song of the Year for "Fuck You", and Producer of the Year, Non-Classical at the 53rd Grammy Awards.

On September 16, 2011, Bad Meets Evil released their single, "Lighters", which featured Mars in the song. The song was met with mixed reviews from critics and many criticized Mars for doing this type of song.^[50] On September 22, 2011, it was announced on Mars' website that his new song "It Will Rain" will appear on The Twilight Saga: Breaking Dawn – Part 1 Original Motion Picture Soundtrack which was released on November 8.^[51] On October 30, 2011, Mars gave an exclusive performance of "Runaway Baby" on the results show of The X Factor UK, the same day that Mars received six nominations for a Grammy Award; Album of the Year and Best Pop Vocal Album for Doo-Wops & Hooligans, Record of the Year, Song of the Year and Best Pop Solo Performance for "Grenade", and Producer of the Year, Non-Classical at the 54th Grammy Awards. During the ceremony, Mars performed "Runaway Baby" but he did not win any awards as Adele won in all the categories he was nominated in and also lost to Paul Epworth for Producer of the Year.

Mars has confirmed on Twitter that his work on his second album has begun.^[52] On March 22, 2012, it was announced that Mars had signed a worldwide publishing deal with BMG Chrysalis US.^[53]

Musical style[link]

Mars performing on November 24, 2010. Mars plays several instruments including piano, guitar, bass and congas.^[54]

Mars' music has been noted for displaying a wide variety of styles and influences, including pop,^[55] rock,^[55] reggae,^[55] R&B,^[56] soul,^[45] and hip hop.^[57] His co-producer Philip Lawrence says, "What people don't know is there's a darker underbelly to Bruno Mars." Mars himself says, "I blame that on me singing to girls back in high school."^[58] Jon Caramanica of The New York Times called him "one of the most versatile and accessible singers in pop, with a light, soul-influenced voice that’s an easy fit in a range of styles, a universal donor."^[4] Mars was initially influenced by R&B artists such as Keith Sweat, Jodeci and R. Kelly, as well as 1950s rock 'n' roll and Motown.^[59] In high school, he began listening to classic rock groups such as The Police, Led Zeppelin, and the Beatles.^[59] All of these genres of music have influenced Mars' musical style; he observed that "It’s not easy to [create] songs with that mixture of rock and soul and hip-hop, and there’s only a handful of them."^[59] Mars also stated that he is a fan of Alicia Keys, Jessie J, Jack White and The Saturdays.^[60]

In addition, Mars claims that his work with other artists influenced his musical style, saying that "'Nothin' on You' had a Motown vibe, 'Billionaire' was a reggae acoustic guitar-driven song, though one of my favorites is the Cee-Lo [Green] song ['Fuck You']. I don't think anyone else could've sung that song. And there's 'Just the Way You Are.' If you know my story, you know I love all different genres of music."^[61] He cites doo-wop as a major influence on his music, referring to the genre as "just straightforward love songs – so charming and simple and romantic."^[61] In addition, Mars states that growing up in Hawaii influenced his music, giving the songs a reggae sound. He explains that "In Hawaii some of the biggest radio stations are reggae. The local bands are heavily influenced by Bob Marley. That music brings people together. It's not urban music or pop music. It's just songs. That's what makes it cross over so well. The song comes first."^[12] Lyrically, many of Mars' songs have been described as "feel-good", carefree, and optimistic,^[62] however, darker subjects are addressed in songs such as "Grenade", "Liquor Store Blues", and "Talking to the Moon", which detail failed relationships and self-destructive behavior.^[45][63]

Discography[link]

• Doo-Wops & Hooligans (2010)
• TBA (2012)

Tours[link]

• Doo-Wops & Hooligans tour (2010–2011)

Awards and nominations[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Bruno Mars

• Official website
• Bruno Mars on Twitter
• Bruno Mars at the Internet Movie Database

Liam Neeson
Neeson at the TIFF premiere of The Other Man, 7 September 2008
Born	Liam John Neeson (1952-06-07) 7 June 1952 (age 60) Ballymena, County Antrim, Northern Ireland
Occupation	Actor
Years active	1973–present
Spouse	Natasha Richardson (m. 1994–2009; her death)
Children	2
Relatives	Vanessa Redgrave (mother-in-law) Tony Richardson (deceased father-in-law) Joely Richardson (sister-in-law)

Liam John Neeson,^[1] OBE (born 7 June 1952)^[2] is an Irish actor who has been nominated for an Oscar, a BAFTA and three Golden Globe Awards. He has starred in a number of notable roles including Oskar Schindler in Schindler's List, Michael Collins in Michael Collins, Peyton Westlake in Darkman, Bryan Mills in Taken, Qui-Gon Jinn in Star Wars (the film Star Wars Episode I: The Phantom Menace and episodes of Star Wars: The Clone Wars), Alfred Kinsey in Kinsey, Ra's al Ghul in Batman Begins, and the voice of Aslan in The Chronicles of Narnia film series.

He starred in other notable films such as Excalibur, The Dead Pool, Nell, Rob Roy, Les Misérables, The Haunting, Love Actually, Kingdom of Heaven, Taken, Clash of the Titans, The A-Team, Unknown and The Grey, as well as smaller arthouse films (e.g. Deception, Breakfast on Pluto, Chloe). He was ranked at number 69 on Empire magazine's 100 greatest movie stars of all time in 1997.

He was born in Ballymena, County Antrim and educated at St Patrick's College (now St Patrick's, Dundonald), Ballymena Technical College and Queen's University Belfast. He moved to Dublin after university to further his acting career, joining the renowned Abbey Theatre. In the early 1990s, he moved again to the United States, where the wide acclaim for his performance in Schindler's List led to more high-profile work. He is widowed and lives in New York with his two sons.

Early life[link]

Neeson was born 7 June 1952, in Ballymena, County Antrim, Northern Ireland, and is the son of Katherine "Kitty" (née Brown), a cook, and Bernard "Barney" Neeson, a caretaker at Ballymena Boys All Saints Primary School.^[3] He was raised Roman Catholic^[4][5][6] and was called Liam after the local priest.^[7] He was the third of four siblings; he has three sisters, Elizabeth, Bernadette, and Rosaline.^[8] At age nine, Neeson began boxing lessons at the All Saints Youth Club, and later became Ulster amateur senior boxing champion.^[9] At age eleven, Neeson first stepped on stage. His English teacher gave him the lead role in a school play, which he accepted because the girl he was attracted to would be starring.^[10] From then on, he kept acting in school productions for the following years.^[11]

His interest in acting and decision to become an actor was also influenced by minister Ian Paisley, whose church Neeson would sneak into. Neeson has said of Paisley that "He had a magnificent presence and it was incredible to watch this six foot-plus man just Bible-thumping away... It was acting but it was also great acting and stirring too."^[12]

Neeson was enrolled in 1971 as a physics and computer science undergraduate student at Queen's University Belfast in Belfast, Northern Ireland, before leaving to work for the Guinness Brewery.^[13]

He discovered a talent for football at Queens University. He was spotted by Seán Thomas at Bohemian F.C.. There was a club trial in Dublin. He only played one game as a substitute against Shamrock Rovers and was not offered a contract to continue playing.^[14]

Career[link]

1978–1999[link]

After leaving university, Neeson returned to Ballymena where he worked in a variety of casual jobs, from a fork-lift operator at Guinness to a truck driver. He also attended teacher training college in Newcastle for two years before again returning to his home town. In 1976, Neeson joined the Lyric Players' Theatre in Belfast where he performed for two years. He got his first film experience in 1977, playing Jesus Christ and Evangelist in the religious film, Pilgrim's Progress directed by Ken Anderson. Neeson moved to Dublin in 1978 after he was offered a part in a production at the Project Arts Centre. The play was Ron Hutchinson's "Says I, Says He", a drama about The Troubles. He acted in several other Project productions and joined the Abbey Theatre. In 1980, filmmaker John Boorman saw him on stage, acting as Lennie Small in Of Mice and Men, and offered him the part of Sir Gawain in the upcoming Arthurian film, Excalibur. After Excalibur, Neeson moved to London, where he continued working on stage, small budget films and television series. He lived with the actress Helen Mirren at this time, whom he met working on Excalibur.^[15] Between 1982 and 1987, Neeson starred in five films; most notably alongside Mel Gibson and Anthony Hopkins in 1984's The Bounty and Robert De Niro and Jeremy Irons in 1986's The Mission. He also starred as a guest actor in the third season of the television series Miami Vice in 1986.

In 1987, Neeson made a conscious decision to move to Hollywood in order to star in high-profile roles.^[15] That year, he starred alongside Cher and Dennis Quaid in Suspect. The role brought Neeson critical applause, but it was 1990's Darkman that would bring his name to public attention. Although the film was successful, Neeson's following years would not give him the same recognition. In 1993, he joined Ellis Island co-star and future wife Natasha Richardson in the Broadway play Anna Christie. (They also worked together in Nell, released the following year.) He recited the Van Morrison song "Coney Island" on the 1994 Van Morrison tribute album, No Prima Donna: The Songs of Van Morrison. A single was also released with Neeson's version.

Director Steven Spielberg, impressed by his performance in Nell, offered him the coveted role of Oskar Schindler in the film about the Holocaust, Schindler's List.^[16] His critically acclaimed performance later earned him a nomination for a Best Actor Oscar; however, the award went to Tom Hanks for his performance in Philadelphia. Neeson also garnered BAFTA and Golden Globes nominations for Schindler's List. Schindler's List established Neeson as a widely sought-after actor. He later starred in period pieces Rob Roy (1995) and Michael Collins (1996), the latter earning him another Golden Globe nomination and a win for Best Starring Role at the Venice Film Festival. Neeson went on to star as Jean Valjean in the 1998 adaptation of Victor Hugo's Les Misérables and in The Haunting (1999) as Dr. David Marrow.