Cui may refer to one of the following:

People[link]

• César Cui (1835 - 1918), a Russian composer
• Jorge "Cui" Cuello, British historian Oxford University, 1995 Pulitzer Prize winner

Other uses[link]

• Cui (or cuy), a Peruvian term for the guinea pig, when used as food
• Cui (character) or Kiwi, a character in Dragon Ball media
• Character user interface, a predecessor to Graphical user interface
• Copper(I) iodide (CuI), a chemical compound
• Cui-ui, a fish endemic to Pyramid Lake in northwestern Nevada
• Corrosion under insulation (CUI), corrosion due to entrapped water under the insulation layer of piping and vessels
• Controlled Unclassified Information, a system that standardizes and simplifies the way the US Executive branch handles unclassified information that requires safeguarding or dissemination controls, pursuant to and consistent with applicable law, regulations, and government-wide policies

See also[link]

• Cui bono, "To whose benefit?", a Latin adage used to suggest a hidden motive
• Choi (Korean version of the same surname)

CUI[link]

CUI may refer to:

• character user interface, a method of interacting with a computer, also called command line interface
• Catholic University of Ireland
• the ICAO airline designator for Cancun Air, Mexico

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2008)

Margaret Ruth Fingerhut (born 30 March 1955) is a British concert pianist who has performed in many different countries and has become well-known for her innovative and entertaining recital programmes which combine popular and unusual repertoire. Margaret currently lives in London with her son Samuel.

Early life[link]

Fingerhut attended North London Collegiate School.^[1]

Career[link]

Margaret Fingerhut is regarded as one of the most poetic pianists of her generation who has become known for her exploration of the highways and byways of the piano repertoire. She has given recitals in Europe, the USA, Canada, India and Africa. As a concerto soloist she has appeared with the London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, Royal Philharmonic Orchestra, BBC Philharmonic, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra and the London Mozart Players, in venues such as the Royal Festival Hall, Royal Albert Hall and the Barbican. She is often heard on BBC Radio 3 and Classic FM and many radio stations worldwide. Her film and television appearances include a role in Testimony, Tony Palmer’s film about Shostakovich.

Her extensive and eclectic discography on the Chandos label has received worldwide critical acclaim. Her numerous discs reflect her long-standing fascination with exploring lesser-known repertoire, and include works by Bax, Bainton, Berkeley, Bloch, Dukas, Falla, Grieg, Howells, Leighton, Novák, Stanford and Suk. Many have been selected as the Gramophone’s Critics’ Choice, and two of her Bax recordings - the Octet with the Academy of St. Martin-in-the-Fields Chamber Ensemble and the Concertante for Piano Left Hand and Orchestra with Vernon Handley and the BBC Philharmonic - were short-listed for Gramophone awards. Her disc of solo piano music by Alexandre Tansman was picked as a “Diapason D’Or” in Diapason magazine. She was also the soloist in the world première recording of Percy Young’s arrangement of Elgar’s sketches for his Piano Concerto slow movement, with the Munich Symphony Orchestra conducted by Douglas Bostock.

Margaret Fingerhut taught piano at the Royal Northern College of Music for a number of years and she is currently a Visiting Tutor at the Birmingham Conservatoire. She has given many masterclasses in the UK, including Dartington International Summer School and Chetham’s International Summer School for Pianists. Her teaching at Dartington was described by The Spectator magazine as demonstrating “enormous skill and sympathy”. She has also given masterclasses in the USA, Canada and China.

In addition to her performing and teaching, she has written articles for magazines such as Classical Music, Pianist and Piano Professional.

Critical reaction[link]

• “One of the most radiantly musical of pianists, she plays with such alluring sensitivity and effortless command that one cannot help but be won over”. ^[2]
• "A triumph of piano playing" ^[3]
• "A brilliantly spontaneous soloist" ^[4]
• "Every move she makes is utterly musical and idiomatc" ^[5]

References[link]

External links[link]

• Fingerhut's web site
• Chandos

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. (June 2011)

Cui Jian
Hohaiyan Rock Festival, Taiwan, 2007
Chinese name	崔健
Pinyin	Cuī Jiàn (Mandarin)
Ancestry	Korean
Origin	People's Republic of China
Born	(1961-08-02) 2 August 1961 (age 50) Beijing, People's Republic of China
Other name(s)	Old Cui (Chinese: 老崔; pinyin: lǎo Cuī)
Occupation	Musician, singer-songwriter
Genre(s)	Chinese rock, punk rock, rap rock, synthpunk
Instrument(s)	Vocals, guitar, electric guitar, trumpet
Label(s)	Beijing East-West
Years active	1984–present
Official Website	www.cuijian.com

Cui Jian [tsʰwéɪ tɕjɛ̂n] (born 2 August 1961) is a Beijing-based Chinese singer-songwriter, trumpeter and guitarist. Affectionately called "Old Cui" (Chinese: 老崔; pinyin: lǎo Cuī), he is considered to be a pioneer in Chinese rock music and one of the first Chinese artists to write rock songs. For this distinction Cui Jian is often labeled "The Father of Chinese Rock".^[1]

Early career[link]

Cui Jian grew up in a musical family in Beijing—his father was ethnic Korean and a professional trumpet player and his mother was a member of a Korean dance troupe. Cui Jian himself started playing the trumpet at the age of fourteen and joined the Beijing Philharmonic Orchestra in 1981, at the age of twenty. He was first introduced to rock during this period when friends smuggled in illicit recordings from Hong Kong and Bangkok. Inspired by the likes of Simon and Garfunkel and John Denver, Cui began learning to play the guitar.

In 1984 he formed his first band, Qi He Ban (lit: Seven Plywood, but notably called "Seven-Player band") with six other classically-trained musicians, including the saxophonist/suona player Liu Yuan. The seminal band was heavily influenced by The Beatles, The Rolling Stones and Talking Heads. They performed their own works—mostly soft rock and love songs—in local hotels and bars. With his band, Cui released his first cassette "Vagabond's Return" that same year. The album contained mellow, pop-oriented love songs, but also showcased songs with progressive and folk rock influences, which were fresh and innovative in China at the time. In 1985, the band released another album, titled "Cui Jian with Seven-Player band". The album featured a combination of Western pop rock, as well as new originals. It also featured more prominent use of the electric guitar, which was seldom used in Chinese popular music. Cui's departure from the band and subsequent solo career led him to become the most successful and influential musician in Chinese rock history.

Cui Jian first shot to stardom in 1986, when he performed "Nothing to My Name" (一无所有; pinyin: Yì Wú Suǒ Yǒu) on the 100-Singer Concert of Year of International Peace at Beijing Worker's Stadium.^[2] The next year he left his permanent job with the orchestra. His band, now renamed ADO, included two foreign embassy employees: Hungarian bassist Kassai Balazs and Madagascan guitarist Eddie Randriamampionona. His first real album, Rock and Roll on the New Long March, was released in 1989.

In the late 1980s and early 1990s, Cui created a hybrid and experimental music mix that cut across divisions between pop music genres. Cui's songs drew on folk and traditional music types, such as the Northwest Wind (Xibeifeng) peasant songs of the Loess Plateau of Shaanxi. At times they knowingly parodied old Communist Party sayings and proverbs. In 1991, for example, he set the old revolutionary song "Nanniwan" to rock music. In 1988 he performed at a concert broadcasted worldwide in conjunction with the Seoul Summer Olympic Games.^[1]

His earliest and best known works were spiced with Western popular music styles, such as punk, dance and jazz. Cui's advocation of a new internationalism and political awareness connected with many university students of the time.

Tiananmen and aftermath[link]

Cui Jian reached the apex of his popularity during the Tiananmen Square protests of 1989, when "Nothing to My Name" became an anthem to student protestors. Before the protests were violently broken up on 4–5 June, Cui frequently appeared with the students and was affirmed by Wu'er Kaixi, one of the prominent leaders of the movement, as highly influential among young Chinese of the time. The following government crackdown forced many rock musicians, Cui Jian included, into hiding in the other provinces. Sanctions proved relatively temporary and Cui was able to return to Beijing shortly afterward. In early 1990, he began his first rock tour entitled the "New Long March", with ten concerts scheduled in Zhengzhou, Wuhan, Xi'an, Chengdu and others. Midway through the tour, Cui Jian gained notoriety for appearing on stage wearing a red blindfold across his eyes before performing his well-known political anthem, "A Piece of Red Cloth",^[3][4][5][6] prompting the government to terminate the performance and cancel the remainder of the tour. After the tour, 1 million yuan was donated to help pay for the 1990 Asian Games, alleged by some to have been a disguised fine for his political indiscretion^{[citation needed]}.

Later career[link]

Through the 1990s Cui Jian was banned from playing major venues in Beijing, although he was able to stage a number of one-set, word-of-mouth concerts at newly-flourishing venues like The Sunflower Club. Elsewhere in China he was permitted play to sell-out crowds in both large and small venues, only on occasion facing government interference. Cui Jian's records have also remained off-limits for broadcast on regular state-controlled radio and television stations. Satellite television was first to challenge this unofficial ban beginning with Hunan TV's 2000 broadcast of a live in-studio performance of Cui Jian and his band.

He has toured both Europe and the United States four times respectively, as well as played a number of shows in Japan, Korea, and Southeast Asia. He is the only modern musical act from the PRC to have made such an impact on the global music scene, and continues to be a point of focus for international news media coverage of Chinese cultural affairs.

In 2000 Cui Jian was awarded the Dutch royal family's prestigious Prince Claus Award for positive artistic and intellectual influences on the broader culture and society.

In 2002 Cui Jian and his manager Paul Fry co-organized the Lijiang Snow Mountain Music Festival (China's Woodstock) in Lijiang, China. Cui Jian followed this with a 10 city tour in Germany and performances with Udo Lindenberg (Godfather of German Rock & Roll), performances with Deep Purple in China and a 13 city sold out tour of the United States.

Bai Qiang is working to produce a 3D concert film and documentary on Cui Jian which is expected to release June 2011.^[7] The film, Transcendence (2012 film), which evokes memories of Tiananmen Square, was screened in Beijing in May, 2012 to an enthusiastic fan audience, but its prospects for mainstream release in China are doubtful.^[8]

Political rehabilitation[link]

On 8 September 2000, Cui Jian and his band performed the song "Flying" (飞了; pinyin: Fei Le) at the Anti-Piracy Concert held at Worker's Stadium in Beijing. It was his first large-venue performance in the capital in 7 years.

In 2002 Cui Jian initiated, produced, and played at a major rock festival in the mountains of Yunnan province. The "Snow Mountain Music Festival" was a major media attraction and was reported by the international press as "China's Woodstock". This experience started a trend of outdoor music festivals in China.

In early 2003 Cui Jian was authorized to open for the Rolling Stones' concert in Beijing. In a 2003 interview, Cui claimed to have taught himself guitar skills in the 1980s by learning Rolling Stones and Beatles songs. He was also quoted as having three dreams: to perform in his home city of Beijing again, to see the Rolling Stones perform live, and to perform together with the Rolling Stones.^[9] Due to the SARS outbreak, however, the concert was cancelled.

Not until March 2004, when Cui Jian opened for Deep Purple on their mainland tour, was he finally able to perform a full set at a major venue in Beijing.

On 24 September 2005, Cui Jian was finally granted permission to headline his own show at the Beijing Capital Stadium, which signified the end of the unofficial ban on Cui Jian performances in China's capital. It also confirmed a major turn-around in government attitude towards rock music in general.

Cui did finally play with the Rolling Stones at the Shanghai Grand Stage on 8 April 2006, singing and playing "Wild Horses.^[10][11] Following the performance, Cui was quoted as saying, "This is the 20th-year anniversary of Chinese rock 'n' roll... We have an appointment. In the near future, they will be back, and we'll rock again in Beijing."

Cui Jian performed in Taiwan on 8 July 2007 after numerous attempts in previous years to perform there had been derailed by governments on both sides of the Taiwan Strait. Cui's entourage to the island comprised 18 people including his 75-year old mother. Headlining on the last day of the Ho-Hai-Yan Rock Festival at Fulong Beach, Cui Jian's participation was promoted on the festival's website^[12] with the slogan: "He's really coming!"

In September 2007, he performed at the Beijing Pop Festival, including a guest appearance rapping with the American rap group Public Enemy.

On 4 December 2009, Cui Jian returned to Taiwan for his second concert there in three years, for the grand opening of the Legacy Taipei.

Discography[link]

This article's use of red links may not follow Wikipedia's guidelines. Please improve this article by removing excessive and inappropriate red links while leaving those that help interlink articles and encourage growth. (January 2012)

• 1984 - 浪子归　(Vagabond's Return)
• 1985 - 1985 Review - cover record showcasing Cui's vocal stylings
• 1986 - 一無所有 (Nothing To My Name)
• 1989 - 新长征路上的摇滚　(Rock 'N' Roll On The New Long March)
• 1991 - 解决 (Solution)
• 1994 - 红旗下的蛋 (Balls Under The Red Flag)
• 1996 - Best of Cui Jian: 1986-1996
• 1998 - 无能的力量 (The Power Of The Powerless)
• 2005 - 给你一点颜色 (Show You Colour)

Filmography[link]

• 1993 - Beijing Bastards (北京杂种; Beijing Zazhong), directed by Zhang Yuan, as himself
• 2003 - Roots and Branches (我的兄弟姐妹; Wo de xiongdi jiemei), directed by Yu Chung, as the father/music teacher
• 2007 - The Sun Also Rises (太阳照常升起; Taiyang zhaochang shengqi), directed by Jiang Wen, as Tang's friend in Beijing
• 2010 - Dooman River (두만강), directed by Zhang Lü, as Chang-Ho

See also[link]

	China portal
	Korea portal
	Biography portal
	Rock music portal

• Chinese rock
• Tang Dynasty (band)
• Viktor Tsoi - a Russian rock musician of Korean origins and same lastname.

References[link]

• Wei, S. Louisa (2006). "Cui Jian: Rocking China" (DV). Music documentary.

External links[link]

Wikimedia Commons has media related to: Cui Jian

• Cui Jian's Official Website (English)/(Chinese)
• "Birth Of A Beijing Music Scene" by Matthew Corbin Clark - companion article to PBS Frontline's "China In The Red".
• Cui Jian on Rockinchina.com

Interviews[link]

• Cui Jian interview from Global Rhythm magazine, August 2008