Look up Thomas in Wiktionary, the free dictionary.

Thomas may refer to:

People[link]

• Thomas (name), a masculine given name
• Thomas (surname)
• Thomas the Apostle, see also Saint Thomas (disambiguation)
• Thomas (activist) (1947–2009), anti-nuclear and anti-war activist

Manufacturing companies[link]

• Thomas Built Buses
• Thomas Motor Company, a former US manufacturer of motorcycles and automobiles
• Thomas-Detroit (automobile company), a former U.S. automobile manufacturer

Places[link]

• Thomas, Oklahoma
• Thomas, West Virginia

Religion[link]

• Gospel of Thomas, a New Testament-era apocryphon
• Infancy Gospel of Thomas, an infancy gospel
• Book of Thomas the Contender, a gnostic book discovered in the Nag Hammadi library
• Acts of Thomas, another gnostic text
• Apocalypse of Thomas, a Christian gnostic apocalypse

Television[link]

• Thomas the Tank Engine, a locomotive character from The Railway Series of children's books by the Rev. W. Awdry
• Thomas and Friends, the spin-off television series
• Thomas H. Norstein, a major character in Digimon Data Squad
• Thomas Tomone, a fictional character from Skins

Other uses[link]

• THOMAS, the US Library of Congress's online database
• Thomas', a brand of English muffins and bagels in North America
• Thomas algorithm, a numerical algorithm to solve a tridiagonal system of equations
• Thomas theorem, a theory of belief and their consequences
• "Thomas," a song by A Perfect Circle from their 2000 album Mer de Noms

See also[link]

• Tomás
• Tom (disambiguation)

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.

Thomas Tallis

Thomas Tallis (c. 1505 – 23 November 1585) was an English composer. Tallis flourished as a church musician in 16th century Tudor England. He occupies a primary place in anthologies of English church music, and is considered among the best of England's early composers. He is honoured for his original voice in English musicianship.^[1] No contemporary portrait of Tallis survives: the earliest, painted by Gerard van der Gucht, dates from 150 years after Tallis died, and there is no certainty that it is a likeness.^[2]

Life[link]

Early years[link]

Little is known about Tallis's early life, but there seems to be agreement that he was born in the early 16th century, toward the close of the reign of Henry VII. Little is known about Tallis's childhood and his significance with music at that age. However, there are suggestions that he was a child of the chapel royal St. James's palace, the same singing establishment which he later went to as a man.^[3] His first known appointment to a musical position was as organist of Dover Priory in 1530–31, a Benedictine priory at Dover (now Dover College) in 1532.^[4] His career took him to London, then (probably in the autumn of 1538) to the Augustinian abbey of Holy Cross at Waltham until the abbey was dissolved in 1540. Tallis acquired a volume at the dissolution of the monastery of Waltham Holy Cross and preserved it; one of the treatises in it was by Leonel Power, and the treatise itself prohibits consecutive unisons, fifths, and octaves.^[5]

Tallis's next post was at Canterbury Cathedral. He was next sent to Court as Gentleman of the Chapel Royal in 1543 (which later became a Protestant establishment^[6]), where he composed and performed for Henry VIII,^[7] Edward VI (1547–1553), Queen Mary (1553–1558), and Queen Elizabeth I (1558 until Tallis died in 1585).^[8] Throughout his service to successive monarchs as organist and composer, Tallis avoided the religious controversies that raged around him, though, like William Byrd, he stayed an "unreformed Roman Catholic."^[9] Tallis was capable of switching the style of his compositions to suit the different monarchs' vastly different demands.^[10] Among other important composers of the time, including Christopher Tye and Robert White, Tallis stood out. Walker observes, "He had more versatility of style than either, and his general handling of his material was more consistently easy and certain."^[11] Tallis was also a teacher, not only of William Byrd, but also of Elway Bevin, an organist of Bristol Cathedral and gentleman of the Chapel Royal.^[12]

Tallis married around 1552; his wife, Joan, outlived him by four years. They apparently had no children. Late in his life he lived in Greenwich, possibly close to the royal palace: a local tradition holds that he lived on Stockwell Street.^[13]

Work with William Byrd[link]

Queen Mary granted Tallis a lease on a manor in Kent that provided a comfortable annual income.^[14] In 1575, Queen Elizabeth granted to him and William Byrd a 21-year monopoly for polyphonic music^[15] and a patent to print and publish music, which was one of the first arrangements of that type in the country.^[16] Tallis's monopoly covered 'set songe or songes in parts', and he composed in English, Latin, French, Italian, or other tongues as long as they served for music in the Church or chamber.^[17] Tallis had exclusive rights to print any music, in any language. He and William Byrd were the only ones allowed to use the paper that was used in printing music. Tallis and Byrd used their monopoly to produce Cantiones quae ab argumento sacrae vocantur but the piece did not sell well and they appealed to Queen Elizabeth for her support.^[18] People were naturally wary of their new publications, and it certainly did not help their case that they were both avowed Roman Catholics.^[19] Not only that, they were strictly forbidden to sell any imported music. "We straightly by the same forbid...to be brought out of any forren Realmes...any songe or songes made and printed in any foreen countrie." Also, Byrd and Tallis were not given "the rights to music type fonts, printing patents were not under their command, and they didn't actually own a printing press."^[20]

Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike.^[21]

Death[link]

Thomas Tallis died peacefully in his house in Greenwich in November 1585. Most historians agree that he died on the twenty-third.^[22] He was buried in the chancel of the parish of St Alfege's Church in Greenwich.^[23] The chancel was torn down in 1720, and none of the memorials remain. Strype claims to have found a brass plate with an engraving on it, which reads:

<poem>“Entered here doth ly a worthy wyght, Who for long tyme in musick bore the bell: His name to shew, was THOMAS TALLYS hyght, In honest virtuous lyff he dyd excell.

“He serv’d long tyme in chappel with grete prayse Fower sovereygnes reygnes (a thing not often seen); I meane Kyng Henry and Prynce Edward’s dayes, Quene Mary, and Elizabeth oure Quene.

“He mary’d was, though children he had none, And lyv’d in love full thre and thirty yeres Wyth loyal spowse, whose name yclypt was JONE, Who here entomb’d him company now beares.

“As he dyd lyve, so also did he dy, In myld and quyet sort (O happy man!) To God ful oft for mercy did he cry, Wherefore he lyves, let deth do what he can.”^[24]</poem>

Byrd wrote the musical elegy Ye Sacred Muses on Tallis's death.

Veneration[link]

Tallis is honoured together with William Byrd and John Merbecke with a feast day on the liturgical calendar of the Episcopal Church (USA) on 21 November.

Works[link]

	Lamentatione Jeremiae Prophetae Recorded live in Madonna dei Monti, Rome by The Tudor Consort in November 2005 (5Mb) If ye love me (2Mb)
Problems listening to these files? See media help.

See List of compositions by Thomas Tallis

Early works[link]

The earliest surviving works by Tallis, Salve intemerata virgo, Ave rosa sine spinis and Ave Dei patris filia are devotional antiphons to the Virgin Mary, which were used outside the liturgy and were cultivated in England until the fall of Cardinal Wolsey. Henry VIII's break with Roman Catholicism in 1534 and the rise of Thomas Cranmer noticeably influenced the style of music written. Texts became largely confined to the liturgy.^[25] The writing of Tallis and his contemporaries became less florid. Tallis's Mass for four voices is marked with tendencies toward a syllabic (which is a setting of text where each syllable is sung to one pitch) and chordal (consisting of or emphasising chords) style and a diminished use of melisma. Tallis provides a rhythmic variety and differentiation of moods depending on the meaning of his texts.^[26] Tallis helped found a relationship that was specific to the combining of words and music.^[27] He also wrote several excellent Lutheran chorales.^[28]

The reformed Anglican liturgy was inaugurated during the short reign of Edward VI (1547–53),^[29] and Tallis was one of the first church musicians to write anthems set to English words, although Latin continued to be used.^[30] The Catholic Mary Tudor set about undoing the religious reforms of the preceding decades. Following her accession in 1553, the Roman Rite was restored and compositional style reverted to the elaborate writing prevalent early in the century.^[31] Two of Tallis's major works, Gaude gloriosa Dei Mater and the Christmas Mass Puer natus est nobis are believed to be from this period. Only Puer natus est nobis can be accurately dated to 1554. As was the prevailing practice, these pieces were intended to exalt the image of the Queen as well as to praise the Mother of God.^[32]

Some of Tallis's works were compiled and printed in the Mulliner Book by Thomas Mulliner before Queen Elizabeth's reign, and may have been used by the Queen herself when she was younger. Elizabeth succeeded her half-sister in 1558, and the Act of Settlement in the following year abolished the Roman Liturgy^[33] and firmly established the Book of Common Prayer.^[34] Composers at court resumed writing English anthems, although the practice of setting Latin texts continued, growing more peripheral over time.

The mood of the country in the beginning of Elizabeth's reign leant toward the puritan, which discouraged the liturgical polyphony. Tallis wrote nine psalm chant tunes for four voices for Archbishop Parker's Psalter, published in 1567.^[35] One of the nine tunes, the "Third Mode Melody", inspired the composition of Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams in 1910.^[36] Tallis's better-known works from the Elizabethan years include his settings of the Lamentations (of Jeremiah the Prophet)^[37] for the Holy Week services and the unique motet Spem in alium written for eight five-voice choirs. Tallis is mostly remembered for his role in composing office hymns and this motet, Spem in alium. Too often we forget to look at his compositions for other monarchs; several of Tallis's anthems written in Edward's reign such as his If ye love me, ought to be considered on the same level as his Elizabethan works.^[38] This is partially because we do not have all of his works from previous periods; eleven of eighteen Latin-texted pieces by Tallis from Elizabeth's reign were published, "which ensured their survival in a way not available to the earlier material."^[39]

Later works[link]

Toward the end of his life, Tallis resisted the musical development seen in his younger contemporaries such as William Byrd, who embraced compositional complexity and adopted texts built by combining disparate biblical extracts.^[40] Tallis's experiments during this time period were considered rather unusual.^[41] Tallis was content to draw his texts from the Liturgy^[42] and wrote for the worship services in the Chapel Royal.^[43] Tallis composed during a difficult period during the conflict between Catholicism and Protestantism, and his music often displays characteristics of the turmoil.^[44]

Fictional portrayals[link]

A fictionalised Thomas Tallis was portrayed by Joe Van Moyland in 2007 on the Showtime television series The Tudors, loosely based upon the early reign of Henry VIII.

See also[link]

Saints portal

References[link]

• Cole, Suzanne. Thomas Tallis and his Music in Victorian England. Woodbridge, UK: Boydell, 2008.
• Doe, Paul and Allinson, David : Thomas Tallis, Grove Music Online ed. L. Macy (Accessed 5 May 2007), (subscription access)
• Farrell, Joseph. Latin Language and Latin Culture: From Ancient to Modern Times. New York Cambridge University Press, 2001.
• Gatens. Tallis: Works, all. American Record Guide 68.3 (May–June 2005): 181.
• Holman, Peter. Dowland: Lachrimae (1604); Cambridge Music Handbooks. Cambridge University Press, 1999.
• Lord, Suzanne.; Brinkman, David. Music From the Age of Shakespeare: A Cultural History. Westport, Conn Greenwood Publishing Group, 2003.
• Manderson, Desmond. Songs Without Music: Aesthetic Dimensions of Law and Justice. University of California Press, 2000.
• Phillips, Peter. Sign of Contradiction: Tallis at 500. Musical Times 146 (Summer 2005): 7–15.
• Shrock, Dennis. Choral Repertoire. Oxford University Press, 2009.
• Steinberg, Michael. Choral Masterworks: A Listener’s Guide. New York Oxford Press, 2005.
• St. James Palace; Rimbault, Edward F. The Old Cheque-Book. Chapel Royal. Westminster: J.B, Nichols and Sons.
• Thomas, Jane Resh. Behind the Mask: The Life of Queen Elizabeth I. New York Houghton-Muffin Trade and Reference, 1998.
• Walker, Ernest. A History of Music in England. 3rd ed., rev. Oxford: Clarendon Press, 1952

Notes[link]

External links[link]

Wikimedia Commons has media related to: Thomas Tallis

• BBC Radio 3 Discovering Music program on Spem in Alium and related works
• Free scores by Thomas Tallis in the Werner Icking Music Archive (WIMA)
• Listen to free recordings of Latin church music and English church music from Umeå Akademiska Kör
• The Mutopia Project has compositions by Thomas Tallis
• Free access to high-resolution images of manuscripts containing works by Tallis from Digital Image Archive of Medieval Music
• Free scores by Thomas Tallis in the Choral Public Domain Library (ChoralWiki)
• Free scores by Thomas Tallis at the International Music Score Library Project
• In Pace In idipsum, edited by quilisma-publications.info

Recordings[link]

• Ceremony & Devotion Harry Christophers, The Sixteen (CORO)
• Tallis, Byrd and Guerrero, The Flowering of Genius The Sixteen (CORO16001)
• William Byrd and Thomas Tallis, In Chains of Gold. Dunedin Consort, DCD34008
• Herald AV Publications – HAVPCD305: Thomas Tallis

Jesselyn Radack
File:J.Radack.jpg
Born	Jesselyn Alicia Brown (1970-12-12) 12 December 1970 (age 41) Washington DC, US
Occupation	Attorney
Nationality	US
Citizenship	United States
Education	BA, 1992 JD, 1995
Alma mater	Brown University Yale University Law School
Notable work(s)	The Canary in the Coalmine: Blowing the Whistle in the Case of "American Taliban" John Walker Lindh TRAITOR: The Whistleblower and the "American Taliban"
Notable award(s)	2012: Hugh M. Hefner First Amendment Award[1] 2011: Sam Adams Award[2] 2007: BuzzFlash Wings of Justice Award[3] 1991: Feminist Majority Foundation Feminist of the Year Award [4]
traitorbook.com

Jesselyn Radack (born 1970) is a former ethics adviser to the United States Department of Justice who came to prominence as a whistleblower after she disclosed that the Federal Bureau of Investigation (FBI) committed an ethics violation in their interrogation of John Walker Lindh (the "American Taliban" captured during the 2001 invasion of Afghanistan) without an attorney present, and that the Department of Justice attempted to suppress that information. The Lindh case was the first major terrorism prosecution after 9/11.^[5]

She is currently the homeland security director of the Government Accountability Project, a leading whistleblower organization.

Early life and education[link]

Radack was born in Washington DC and attended Brown University. She was elected to Phi Beta Kappa in her junior year and graduated magna cum laude in 1992 as a triple major with honours in all three majors. Since 1983 when Brown began tracking such data, only one other student has received honors in three concentrations.^[6]

Radack graduated from Yale Law School and joined the Justice Department through the Attorney General Honors Program where she practiced constitutional tort litigation from 1995–1999 and then worked in the Department's newly created Professional Responsibility Advisory Office (PRAO) from 1999-2002.

John Walker Lindh case[link]

Initial inquiry into Lindh case[link]

On 7 December 2001 Radack received an inquiry from Justice Department counter-terrorism prosecutor John DePue regarding the ethical propriety of interrogating Lindh without a lawyer being present. Radack was told unambiguously that Lindh's father had retained counsel for his son.^[7] Radack responded that interrogating him was not authorized by law because Lindh was represented by counsel. The FBI proceeded to question Lindh without a lawyer. DePue called back Radack the following day, and Radack advised DePue that Lindh's confession might "have to be sealed" and could be "only used for national security purposes" and intelligence-gathering, not for criminal prosecution.^[8]

Radack continued to research the issue until 20 December 2001 when her supervisor Claudia Flynn told her to drop the matter because Lindh had been 'Mirandized'. It was later learned that the FBI agent Christopher Reimann who read Lindh the Miranda warning had, when noting the right to counsel, ad-libbed: "Of course, there are no lawyers here" in Afghanistan.^[9]

Attorney General Ashcroft's public statements regarding Lindh[link]

On 15 January 2002, five weeks after the interrogation, Attorney General John Ashcroft announced that a criminal complaint was being filed against Lindh. "The subject here is entitled to choose his own lawyer," Ashcroft said, "and to our knowledge, has not chosen a lawyer at this time." Radack knew that was untrue.^[10] Three weeks later, Ashcroft announced Lindh's indictment, saying that his rights "have been carefully, scrupulously honored."^[11] This was contradicted by a photograph that was circulating worldwide of Lindh naked, bound to a stretcher with duct tape, and blindfolded with epithets written across it.^[12]

Retribution by Radack's supervisor and missing email[link]

On 4 February 2002 Flynn gave Radack an unscheduled, undated, and unsigned "blistering" performance evaluation, despite Radack having received a performance award and a pay rise a few months earlier. It did not mention the Lindh case by name but it questioned her legal judgement. Flynn told Radack to find another job or else the review would be put in Radack's official personnel file.^[10] (Radack had planned on being a career civil servant.)^[13]

On 7 March 2002 the lead prosecutor in the Lindh case, Randy Bellows, messaged Radack that there was a court order for all of the Justice Department's internal correspondence about Lindh's interrogation.^[10] He said that he had two of her messages and wanted to make sure he had everything.

Radack became immediately concerned because the court order had been deliberately concealed from her.^[14] Additionally, although Radack had written more than a dozen e-mails on the subject, the Department had turned over only two of them, neither of which reflected her fear that the FBI's actions had been unethical and that Lindh's confession, which was the basis for the criminal case, might have to be sealed.^[15] Radack checked the hard-copy file and found that the thick, staple-bound stack of paper had been reduced to a few sheets.^[16] Radack confided in a senior colleague, former U.S. Attorney Donald McKay, who examined the file and told her that it had been "purged."

With the assistance of technical support, Radack then recovered 14 email messages from her computer archives and gave them to Flynn with a cover memorandum. When Flynn asked Radack why the messages weren't in the file, Radack said she didn't know, and her supervisor said 'Now I have to explain why PRAO should not look bad for not turning them over'.^[17]

[edit] Disclosure of purged emails to Newsweek

A year later in March 2003 investigative journalist Jane Mayer of The New Yorker confirmed that '[a]n official list compiled by the prosecution confirms that the Justice Department did not hand over Radack's most critical e-mail in which she questioned the viability of Lindh's confession until after her confrontation with Flynn'.^[18] Pulitzer Prize-winning reporter Eric Lichtblau of the New York Times exposed in 2006 that: "[Alberto] Gonzales made clear that the White House was calling the shots and that he, as White House counsel, had decided not to turn anything over to Lindh's defense lawyer in the way of documents. 'We're not going to provide discovery', Gonzales said."^[19]

Radack resigned from the Justice Department on 5 April 2002. As the Lindh case proceeded, "the administration continued to swear that it knew nothing of the fact that Lindh already had a defense attorney at the time of his interrogation.^[14] In June 2002 Radack heard a broadcast on NPR stating that the DOJ claimed they had never taken the position that Lindh was entitled to counsel during his interrogation. Radack did not think the Justice Department would have the temerity to make public statements contradicted by their own court filings if they had indeed turned over her email correspondence.

After hearing the broadcast, Radack sent the email messages to Michael Isikoff, a Newsweek reporter who had been interviewed in the NPR story. Such disclosures are authorized under 5 U.S.C. § 2302(b)(8)(A)(i-ii), the Whistleblower Protection Act. Isikoff wrote an article about the missing e-mails.^[20]

Circa 2002/2003 the DOJ accessed phone records of her conversations with Michael Isikoff.^[21]

On 15 July 2002 three weeks after Radack's disclosure was made public and on the morning that Lindh's suppression hearing was due to begin, Lindh pleaded guilty to two relatively minor charges. The surprise deal, which startled even the judge, averted the crucial evidentiary hearing that would probe the facts surrounding his interrogation--which Radack had advised against--and whether his statements could be used against him at trial--which she had also advised against. Lindh pleaded guilty to two relatively minor charges and journalists agreed that the Lindh prosecution had "imploded."^[22]

On 19 June 2002 the judge presiding over Lindh's case requested that the Justice Department file a pleading in three weeks "addressing whether any documents ordered protected by the Court were disclosed by any person bound by an Order of this court." The Justice Department used the court's order as a pretext to launch a criminal investigation of Radack that lasted for the next 15 months. (The judge issued an order in November 2002 concluding that Radack's disclosure did not violate any order of the Court, but this Order was not made available to Radack until two years later.)^[23]

Resignation from the Justice Department and Justice Department retaliation against Radack[link]

The Justice Department contacted Radack's new employers and warned the firm that she was under a "criminal leak investigation," even though Radack had never received a "subject" or "target" letter from the Justice Department to that effect, and there is no such crime as "leaking."^[22] The law firm placed her on an indefinite, unpaid leave of absence, which is tantamount to being fired. Radack applied for, and received, unemployment compensation benefits, which the Justice Department assisted the law firm in contesting.^[24] Radack won the appeal of her benefits; however, the criminal investigation left her unemployed and unemployable. The case closed on September 11, 2003. Investigators never identified a potential charge against her and no charges were ever brought.^[25]

On October 31, 2003, "[t]he Bush-Cheney administration also referred her for 'discipline' to the bar associations in the states where she was licensed to practice law, submitting a secret report she was not allowed to see and making it almost impossible for her to fight the allegations."^[25] Maryland bar officials dismissed the referral on February 23, 2005. The District of Columbia Bar referral is still pending more than eight years later.^[26] Radack is the only Justice Department attorney referred to the bar for advice she rendered during the Bush years, in contrast with her law school contemporary, John Yoo, who authored the "torture memos."

She also had a gag order placed on her as is the case with many other whistleblowers.^[27]

Congressional intervention[link]

U.S. Senator Edward M. Kennedy submitted questions about the affair to Attorney General John Ashcroft in March 2003 and expressed concern about Radack's situation in May 2003.^[28] Sen. Kennedy later said: "It appears she [Radack] was effectively fired for providing legal advice that the [Justice] Department didn't agree with."^[29] Constitutional scholar and former Associate Deputy Attorney General under Ronald Reagan, Bruce Fein, represented Radack pro bono in her effort to clear her name.^[30]

Radack suit against the Justice Department[link]

Radack sued DOJ, alleging that its Office of Professional Responsibility violated the Privacy Act of 1974 and the Administrative Procedure Act in connection with its referral of professional misconduct allegations to District of Columbia and Maryland Bar officials.^[17] The lawsuit was dismissed in 2006.^[31]

After DOJ[link]

Radack served on the D.C. Bar Legal Ethics Committee from 2005-2007. From 2006 until 2008, she represented government contractors blowing the whistle on fraud in the reconstruction of Iraq. Since 2008, she has served as the director of National Security & Human Rights at the Government Accountability Project. She was one of the attorneys who represented National Security Agency whistleblower Thomas Andrews Drake, with whom she won the 2011 Sam Adams Award^[2], given annually by the Sam Adams Associates for Integrity in Intelligence.^[32] Her writing has appeared in the Los Angeles Times, The Washington Post, Philadelphia Inquirer, Legal Times, National Law Journal, The Nation, and numerous law journals. She maintains a blog at DailyKos.

See also[link]

• Sibel Edmonds
• List of whistleblowers

References[link]

External links[link]

• Lost in the Jihad, by Jane Mayer, The New Yorker, March 10, 2003, p. 7f.
• Whistleblowing in Washington by Jesselyn Radack, from Reform Judaism Magazine
• The Woman Who Knew Too Much, Brown Alumni Magazine article
• Anatomy of a Whistleblower, article by Laurie Abraham, Mother Jones, January/February 2004
• Whistleblower Charges Justice Dept. with Misconduct - Jesselyn Radack speaks to Democracy Now!, January 13, 2005.
• Her book, The Canary in the Coalmine (2004), recounts her ordeals.
• DailyKos blog and profile

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. (August 2011)

Leon Thomas III
Background information
Birth name	Leon G. Thomas III[1]
Also known as	Leon Thomas
Born	(1993-08-01) August 1, 1993 (age 18)[2] Brooklyn, New York, U.S.
Genres	R&B, pop
Occupations	Actor, musician, dancer
Instruments	Vocals, guitar, piano, drums, bass, sax, beatbox
Years active	2003–present
Associated acts	Victoria Justice, Ariana Grande

Leon G. Thomas III (born August 1, 1993) is an American actor,^[3] singer, songwriter, musician and dancer who plays the role of Andre Harris on the Nickelodeon series Victorious. He will be debuting an album in 2012.^{[citation needed]} On Youtube he currently has his own channel known as "leonthomasmusic".

Early life[link]

Thomas was born in Brooklyn, to Jayon Anthony.^[1][4]

Broadway[link]

He made his Broadway debut at age 10^[1] in 2003 as Young Simba in the Broadway production of The Lion King. In 2004, he appeared as Jackie Thibodeaux in the original Broadway cast of Tony Kushner's Caroline or Change. He also toured with the company during its five-month run in Los Angeles and San Francisco. Thomas has performed in the Broadway productions The Lion King, Caroline, or Change, and The Color Purple.^[5]

Music career[link]

Leon Thomas III is working on an upcoming EP, titled Metro Hearts which is slated to be released on July 1, 2012.^[6] And, he has revealed that the EP will consist of his cover of Kings of Leon's hit single "Use Somebody" and a duet with his Victorious co-star, Ariana Grande.^[7][8]

Television[link]

In 2007, Thomas appeared in the film August Rush as Arthur performing the song "La Bamba" and was the singing voice for Tyrone in The Backyardigans. Thomas has also guest starred on Jack's Big Music Show and Just Jordan. He also appeared as Harper in iCarly Saves TV and was featured on The Naked Brothers Band Christmas Special. He is a main character on Victorious, playing Andre Harris, which premiered on Nickelodeon on March 27, 2010. He also appeared as himself in the True Jackson, VP February 5, 2011, season 2 episode. He also appeared as Andre in the iCarly and Victorious crossover, "iParty with Victorious".

Filmography[link]

Broadway[link]

• The Lion King
• Caroline or Change
• The Color Purple

Awards[link]

References[link]

External links[link]

• Leon Thomas III at the Internet Movie Database
• Leon Thomas III on Twitter

v t e Victorious Quotes · Schneider's Bakery · Characters Creator Dan Schneider Episodes Season 1 • Season 2  • Season 3 Music Soundtrack Victorious Singles "Make It Shine"  • "Freak the Freak Out"  • "Beggin' on Your Knees"  • "Best Friend's Brother"  • "Leave It All To Shine"  • "All I Want Is Everything"  • "You're The Reason"  • "It's Not Christmas Without You"  • "Countdown"  • "Take a Hint"  • "Make It In America" Other songs "Give It Up" Related iCarly • Schneider's Bakery • Nickelodeon • "iParty with Victorious"

Amos Leon Thomas Jr (October 4, 1937 – May 8, 1999) was an American avant garde jazz singer from East St. Louis, Illinois.

Thomas studied music at Tennessee State University. In the 1960s he was a vocalist for Count Basie and others.

In 1969, he released his first solo album for the prestigious Flying Dutchman label. However he made an earlier album which is still unreleased even now.

He was largely forgotten until a resurgence of interest in soul jazz. Several of his tracks have been sampled in hip-hop and downtempo records.

He changed his name to Leone in 1974 because of an interest he had in numerology at the time. He did not legally change his name and he reverted back to Leon shortly thereafter.

Thomas is best known for his work with Pharoah Sanders, particularly the 1969 song "The Creator Has a Master Plan" from Sanders' Karma album. Thomas's most distinctive device was that he often broke out into yodeling in the middle of a vocal. This style has influenced singers James Moody, Tim Buckley and Bobby McFerrin, among others. He said in an interview that he developed this style after he fell and broke his teeth before an important show.

Thomas toured and recorded as a member of the band Santana in 1973.^[1]

Thomas died of heart failure on May 8, 1999.

Discography[link]

This section requires expansion.

As leader[link]

• Spirits Known And Unknown (Flying Dutchman, 1969)
• The Leon Thomas Album (Flying Dutchman, 1970)
• Blues and the Soulful Truth (Flying Dutchman, 1972)
• Full Circle (Flying Dutchman, 1973)
• Gold Sunrise on Magic Mountain (live) (Flying Dutchman, 1971)
• Live in Berlin with Oliver Nelson (Flying Dutchman, 1971)
• The Leon Thomas Blues Band (Portrait, 1988)
• Facets (compilation) (Flying Dutchman)
• Anthology (compilation) (Soul Brother Records)
• A Piece of Cake (Palcoscenico Records)

As sideman[link]

With Pharoah Sanders

• Karma (1969)
• Jewels of Thought (1969)
• Iphizo Zam (1973)
• Shukuru (1983)
• Oh Lord, Let Me Do No Wrong (1987)

[edit] With Santana

• Welcome (1973)
• Lotus (1974)

[edit] With Archie Shepp

• Kwanza (1974)

References[link]

External links[link]

• Leon Thomas on JazzSupreme
• Yahoo Bio
• Another bio