Teams is the plural form of team.

TEAMS may also refer to:

• TEAMS (academic competition), a competition sponsored by JETS
• TEAMS (cable system), an Kenyan initiative to link the country to the rest of the world through a submarine fibre optic cable.

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.

Ed Sheeran
Ed Sheeran
Background information
Birth name	Edward Christopher Sheeran
Born	(1991-02-17) 17 February 1991 (age 21)
Origin	Halifax, England
Genres	Folk, acoustic, hip hop, grime
Occupations	Singer, songwriter, producer, rapper, beatboxer
Instruments	Vocals, guitar, BOSS Loop Pedal RC-30
Years active	2005–present
Labels	Asylum, Atlantic Records
Associated acts	Yelawolf, Devlin, Wiley, Ghetts, P Money, Wretch 32, Sway DaSafo, Jamie Woon, Yasmin, Amy Wadge[1]
Website	edsheeran.com

Edward Christopher "Ed" Sheeran (born 17 February 1991) is an English singer-songwriter who is currently signed to Asylum / Atlantic Records.^[2] Sheeran broke through commercially in June 2011, when his debut single "The A Team" debuted at number 3 on the UK chart.^[3]

Life and career[link]

1991–2011: Early life and career beginnings[link]

Sheeran was born in Halifax, West Yorkshire to Irish^[4] and English^[5] parents, before moving to Framlingham, Suffolk; he is a cousin of TV journalist and presenter Gordon Burns.^[6] He learned guitar at a very young age, and began writing songs during his time at Thomas Mills High School in Framlingham.^[7] His early childhood memories, referred to in a interview on the Zane Lowe show, included listening to Van Morrison on his countless trips to London with his parents and going to an intimate gig with Damien Rice in Ireland when he was 11.^[8] He also opened for Nizlopi in Norwich in April 2008 after being one of their guitar technicians.^[7] Sheeran began recording in 2005, which led to the release of his first EP, The Orange Room EP. Sheeran also released 2 albums, a self-titled one in 2006 and Want Some? in 2007. He moved to London in 2008 to play gigs, starting off in very small venues, playing every day, to as little as five people. In 2008, he auditioned for the ITV series Britannia High.^[9]

In 2009, Sheeran played 312 gigs. He said that he read an interview with James Morrison that said that Morrison had done 200 gigs in a year, and Sheeran wanted to beat him on this number.^[10] Also in 2009, he released another EP, You Need Me, just before going on tour with Just Jack. He also did a few collaborations with Leddra Chapman, including Cee Lo Green's Fuck You. In February 2010 Sheeran posted a video through SB.TV, which led to mainstream rapper Example asking Sheeran to tour with him. Also in February 2010 he released his critically acclaimed Loose Change EP, which featured his later debut single "The A Team".

In April 2010, after leaving his old management company, Sheeran bought a ticket to Los Angeles, with no contacts other than one poetry night. He played open mic nights all over the city, before his talent was spotted at The Foxxhole by Jamie Foxx, who was so impressed that he offered Sheeran the use of his recording studio and the run of his Hollywood home for the rest of his stay. Throughout 2010, Sheeran began to be seen by more people over the internet through YouTube and his fan-base grew, with him also getting credit from The Independent newspaper, England football captain Rio Ferdinand and Elton John.^[11] Sheeran also self-released two other EPs in 2010; Ed Sheeran: Live at the Bedford and Songs I Wrote With Amy, which is a collection of love songs he wrote in Wales with fellow singer songwriter Amy Wadge.

Sheeran at Academy 1, Manchester Dot to Dot Festival on Monday 30 May 2011

On 8 January 2011, Sheeran released his final independent EP, No. 5 Collaborations Project featuring appearances by grime artists including Wiley, JME, Devlin, Sway and Ghetts.^[2] With this EP, Sheeran gained mainstream attention for reaching number 2 in the iTunes chart without any promotion or label, selling over 7,000 copies in its first week.^[12] Three months later, Sheeran put on a free show to fans at the Barfly in Camden. Over 1,000 fans turned up to see the show, so Sheeran ended up playing four different shows to make sure everyone saw a gig, including a gig outside on the street after the venue had closed. Later that month, Sheeran was signed to Asylum / Atlantic Records.

[edit] 2011–present: + and commercial success

On 26 April, Sheeran appeared on the TV music show Later... with Jools Holland – where he performed his debut single "The A Team". Six weeks later, "The A Team" was released as a digital download in the UK. The release served as the lead single from Sheeran's debut studio album, entitled +. "The A Team" entered the UK Singles Chart at number three, selling over 58,000 copies in the first week. It was congratulated on being the best selling debut single and the overall eight best selling single of 2011, shifting 801,000 copies.^[13] The lead single also became a top ten hit in Australia, Germany, Ireland, Japan, Luxembourg, New Zealand, Norway and the Netherlands. During a headline set in the BBC Introducing tent at Glastonbury Festival 2011, Sheeran announced that "You Need Me, I Don't Need You" would be released on 28 August as the second single from the album. The second single peaked at number four on the UK Singles Chart.^[14]

Sheeran's debut album + was released on 12 September 2011. + received generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65, which indicates "generally favorable reviews".^[15] + debuted number one on the UK Albums Chart, selling 102,000 copies in its first week.^[16] It became the second best selling debut album and the ninth biggest-selling album of 2011 in the UK, shifting 791,000 copies.^[17] The album climbed back up to number one on the UK Albums Chart on 1 January 2012, fifteen weeks after it last peaked at the top. The album has been certified triple platinum by the British Phonographic Industry for shipments of 900,000 units.^[18] As of March 2012, the album had sold 1,021,072 copies in the UK.^[19] The album also reached the top ten on the Australian Albums Chart, Flanders Belgian Albums Chart,^[20] Dutch Albums Chart,^[21] Irish Albums Chart,^[22] New Zealand Albums Chart^[23] and the Swiss Albums Chart.^[24]

On 11 November 2011, soul ballad "Lego House" was released as the third single lifted from the debut studio album +.^[25] It received its first radio play on BBC Radio 1 on 8 September 2011.^[26][27] It entered the UK Singles Chart at number five, on 17 November. "Lego House" also reached the top ten on Australian, Irish, Scottish, New Zealand Singles Charts, Flemish Ultratop 50 and the Wallonian Ultratip. "Drunk" was released on 19 February 2012 as the fourth single lifted from +.^[28] "Drunk" became the Sheeran's fourth consecutive top ten single in the UK, when it peaked at number nine.^[29] "Small Bump" is scheduled for a release in late May 2012 as the fifth single.^[30]

The song "Moments" on the debut album by boy band One Direction was co-written by Sheeran.^[31] On 21 February 2012, Sheeran attended the 2012 Brit Awards, he received the Brit Award for Best British Male Solo Artist, and British Breaktrough of the Year.^[32][33]

On 10 January 2012, it was announced Sheeran would support Snow Patrol on their United States tour from late March until May. On the band's Fallen Empires Tour.^[34]

His song "Give Me Love" was featured in the episode "Dangerous Liaisons" of The Vampire Diaries.^[35][36] At the 2012 Ivor Novello Awards in May 2012, Sheeran's "The A Team" beat Adele's "Rolling In The Deep" and Florence and the Machine's "Shake It Out", winning the award for Best Song Musically and Lyrically.^[37]

Philanthropy[link]

Sheeran will perform a gig in Bristol, which has raised £40,000 for a charity that reaches out to street sex workers. Sheeran agreed to the event after one of the women One25 helps contacted him. "It's good to show insight that these people are real people with real emotions and they deserve the same charity work as anyone else," Sheeran said. "There's a lot more popular charities that get a lot of attention. And with certain subjects like this they're often washed over and people don't necessarily give them the attention they deserve." Tickets were available to those taking part in the charity's Give it up for One25 campaign by giving something up for 125 hours and hitting the £125 fundraising mark. Louise Willott, who organised the event at The Fleece, said of Sheeran: "He had volunteered in Crisis in London. which is a homeless shelter, and he had met a woman who told him her story. Her name was Angel. "He then went and did some more research about the issues and obviously he must have been moved and inspired to have written The A Team." Willott added: "The Fleece is quite a small venue - it only holds about 400, which makes it extra exciting as it's really intimate and Ed's not playing those size venues anymore. In total this has raised about £40,000 for the project. Its just going to give us such a boost. This is a difficult time for any charity. There's less money available and there's more competition for it, so to have one event raise £40,000 is just incredible."^[38]

Discography[link]

Album[link]

• + (2011)

Tour[link]

Opening act

• Fallen Empires Tour (North American select dates) (2012)

Filmography[link]

Television[link]

Awards and nominations[link]

[edit] BRIT Awards

[edit] BT Digital Music Awards

[edit] Ivor Novello Awards

[edit] MOBO Awards

[edit] Q Awards

[edit] UK Music Video Awards

See also[link]

• List of Official Subscription Plays Chart number-one songs from the 2010s

References[link]

External links[link]

• Interview
• Official website
• Ed Sheeran on Myspace
• Ed Sheeran on Facebook
• Ed Sheeran on Twitter
• Ed Sheeran's channel on YouTube

The topic of this article may not meet Wikipedia's notability guideline for biographies. Please help to establish notability by adding reliable, secondary sources about the topic. If notability cannot be established, the article is likely to be merged, redirected, or deleted. (January 2008)

Patrick Lencioni is the author of The Five Dysfunctions of a Team, a popular business fable that explores work team dynamics and offers solutions to help teams perform better.^[1]

In addition to the bestselling Five Dysfunctions of a Team, he has written eight other business books: The Advantage: Why Organizational Health Trumps Everything Else in Business; Overcoming the Five Dysfunctions of a Team; Death by Meeting; Silos, Politics and Turf Wars; The Five Temptations of a CEO; The Four Obsessions of an Extraordinary Executive; The Three Signs of a Miserable Job and Getting Naked.

He has also applied his management insights to help families in The Three Big Questions for a Frantic Family in which he shows that families can benefit from the type of advice that he provides to organizations.^[2]

Lencioni, who lives in Alamo, California, in the San Francisco Bay Area, is the president of The Table Group, a management consulting firm specializing in executive team development and organizational health. As a consultant and keynote speaker, he has worked with thousands of senior executives and executive teams in organizations ranging from Fortune 500s and high tech start-ups to universities and non-profits. His clients include AT&T, Bechtel, Boeing, Cisco, Sam's Club, Microsoft, Mitsubishi, Allstate, Visa, FedEx, New York Life, Sprint, Novell, Sybase, The Make-A-Wish Foundation, and the US Military Academy, West Point. He has delivered dozens of keynote addresses on leadership, organizational change, teamwork and corporate culture.

He is frequently interviewed for national media including features in the Wall Street Journal and USA Today. Fortune Magazine has listed him as one of "10 new gurus you should know".^[3]

Previously, Lencioni worked at the management consulting firm Bain & Company, Oracle Corporation, and Sybase, where he was VP of Organization Development. He is on numerous advisory boards, and sits on the National Board of Directors for PFLAG and the Make-A-Wish Foundation.

References[link]

External Links[link]

The Table Group

The Five
Mily Balakirev César Cui Modest Mussorgsky Nikolai Rimsky-Korsakov Alexander Borodin
v t e

The Five, also known as The Mighty Handful, The Mighty Five, or The Mighty Coterie (Russian: Могучая кучка, Moguchaya kuchka), refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. The group had the aim of producing a specifically Russian kind of art music, rather than one that imitated older European music or relied on European-style conservatory training. In a sense, they were a branch of the Romantic Nationalist movement in Russia, sharing similar artistic goals with the Abramtsevo Colony and Russian Revival.

History[link]

Name[link]

Vladimir Stasov
(1824–1906)

In May 1867 the critic Vladimir Stasov wrote an article, Mr. Balakirev's Slavic Concert, on a concert given for visiting Slav delegations to the "All-Russian Ethnographical Exhibition" in Moscow. The four Russian composers whose works were played at the concert were Mikhail Glinka, Alexander Dargomyzhsky, Mily Balakirev, and Nikolai Rimsky-Korsakov.^[1] The article ended with the following statement:

God grant that our Slav guests may never forget today's concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians.^[2]

—Vladimir Stasov, Sankt-Peterburgskie Vedomosti, 1867

The expression "mighty handful" (Russian: Могучая кучка, Moguchaya kuchka, "Mighty Bunch" or "Group"), was mocked by enemies of Balakirev and Stasov: Aleksandr Serov, academic circles of the conservatory, the Russian Musical Society, and their press supporters. The group responded by defiantly adopting the name.^[2] This loose collection of composers gathered around Balakirev now included Cui, Mussorgsky, Rimsky-Korsakov, and Borodin — the five who have come to be associated with the name "Mighty Handful", or sometimes "The Five". Gerald Abraham stated flatly in the Grove Dictionary of Music and Musicians that "they never called themselves, nor were they ever called in Russia, 'The Five'"^[3] (although today the Russian equivalent "Пятерка" ("Pyatyorka") is occasionally used to refer to this group).^[4] In his memoirs, Rimsky-Korsakov routinely refers to the group as "Balakirev's circle", and occasionally uses "The Mighty Handful", usually with an ironic tone. He also makes the following reference to "The Five":

If we leave out of account Lodyzhensky, who accomplished nothing, and Lyadov, who appeared later, Balakirev's circle consisted of Balakirev, Cui, Mussorgsky, Borodin, and me (the French have retained the denomination of "Les Cinq" for us to this day).^[5]

—Nikolay Rimsky-Korsakov, Chronicle of My Musical Life, 1909

The Russian word kuchka also spawned the terms "kuchkism" and "kuchkist", which may be applied to artistic aims or works in tune with the sensibilities of The Mighty Handful.

The name of Les Six, an even looser collection of French-speaking composers, emulates that of "The Five".

Formation[link]

The formation of the group began in 1856, with the first meeting of Balakirev and César Cui. Modest Mussorgsky joined them in 1857, Nikolai Rimsky-Korsakov in 1861, and Alexander Borodin in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with a career in chemistry. Rimsky-Korsakov was a naval officer (he wrote his First Symphony on a three-year naval voyage circumnavigating the globe). Mussorgsky had been in the Guards, then in the civil service before taking up music; even at the height of his career in the 1870s he was forced by the expense of his drinking habit to hold down a full-time job in the State Forestry Department.^[6]

In contrast to the élite status and court connections of Conservatory composers such as Pyotr Ilyich Tchaikovsky, The Five were mainly from the minor gentry of the provinces. To some degree their esprit de corps depended on the myth, which they themselves created, of a movement that was more "authentically Russian," in the sense that it was closer to the native soil, than the classic academy.^[7]

Before them, Mikhail Glinka and Alexander Dargomyzhsky had gone some way towards producing a distinctly Russian kind of music, writing operas on Russian subjects, but The Mighty Handful represented the first concentrated attempt to develop such a music, with Stasov as their artistic adviser and Dargomyzhsky as an elder statesman to the group, so to speak. The circle began to fall apart during the 1870s, no doubt partially due to the fact that Balakirev withdrew from musical life early in the decade for a period of time. All of "The Five" are buried in Tikhvin Cemetery in Saint Petersburg.

Musical language[link]

Stylization[link]

The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements:

• They tried to incorporate in their music what they heard in village songs, in Cossack and Caucasian dances, in church chants and the tolling of church bells (to the point where the bell tolling became a cliché). The Five's music became filled with imitative sounds of Russian life. They also tried to reproduce the long-drawn, lyrical and melismatic peasant song, what Glinka had once called "the soul of Russian music." Balakirev made this possible by his study of songs from the Volga in the 1860s. More than any previous anthology, his transcriptions artfully preserved the distinctive aspects of Russian folk music:
  • Tonal mutability

  A tune seems to shift naturally from one tonal center to another, often ending up in a different key than the one in which the song began. This can produce a feeling of elusiveness, a lack of definition or of logical progression in the harmony. Even when stylized by The Five, this quality can make Russian music sound very different from the tonal structures of the West.

  • Heterophony

  A melody is simultaneously rendered by two or more performers in different variations. This is improvised by the singers until the end, when the song reverts to a single melodic line.

  • Parallel fifths, fourths and thirds

  The effect lends Russian music a raw sonority missing entirely from the comparatively polished harmonies of Western music.

• The Five also adopted a series of harmonic devices to create a distinct "Russian" style and color different from Western music. This "exotic" styling of "Russia" was not just self-conscious but entirely invented. None of these devices was actually used in Russian folk or church music:
  • Whole tone scale

  Although Glinka did not invent this scale, his application of it in the opera Ruslan and Lyudmila (1842) — most recognizable at the end of the festive overture — provided a characteristic harmonic and melodic device. This scale in "Russian" works often suggests evil or ominous personages or situations. It was used by all the major composers from Tchaikovsky (the appearance of the Countess's ghost in The Queen of Spades) to Rimsky-Korsakov (in all his magic-story operas—Sadko, Kashchey the Deathless and The Invisible City of Kitezh). Claude Debussy also uses this scale in his music, taking this, among many things, from the Russians. Later it became a standard device in horror-movie scores.

  • The Russian submediant^[8]

  Also linked to Glinka's Ruslan, this is a harmonic pattern (in major mode) in which one upper part proceeds from the dominant pitch chromatically to the submediant while the other harmony parts remain constant. The most basic form of this pattern can be shown as follows (beginning with typical tonic): root-position tonic triad --> root-position augmented tonic triad -> 1st inversion submediant minor triad. A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's Scheherezade.

  • Diminished or octatonic scale

  Rimsky-Korsakov first used this in his symphonic poem Sadko in 1867. This scale became a sort of Russian calling-card — a leitmotif of magic and menace used not just by Rimsky-Korsakov but all of his followers, above all Alexander Scriabin, Maurice Ravel, Igor Stravinsky and Olivier Messiaen (mode 2).

  • Modular rotation in sequences of thirds

  The Five made this device of Franz Liszt their own to base a loose symphonic-poem type of structure. This way, they could avoid the rigid Western laws of modulation in sonata form, allowing the form of a musical composition to be shaped entirely by the "content" of the music (its programmatic statements and visual descriptions) rather than by formal laws of symmetry. This loose structure became especially important for Mussorgsky's Pictures at an Exhibition, a work that may have done more than any other to define the Russian style.^[9]

  • Pentatonic scale

  This stylistic aspect became used by every Russian nationalist composer.^[10] Its distinctive feature is to have only five notes in the octave, rather than the seven of the heptatonic scales (e.g., major and minor). The pentatonic scale is one of the ways of suggesting a "primitive" folk-melodic style as well as the "Eastern" element (Middle East, Asia). A melodic example of the "major-mode" pentatonic scale (C-D-E-G-A) can be heard at the entrance of the chorus at the beginning of Borodin's Prince Igor.

Orientalism[link]

One hallmark of "The Five" was its reliance on orientalism.^[10] Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's Islamey, Borodin's Prince Igor and Rimsky-Korsakov's Scheherazade.^[10] Orientalism, in fact, became widely considered in the West both one of the best-known aspects of Russian music and a trait of Russian national character.^[11] As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of Anton Rubinstein and other Western-oriented composers.^[10] Because Rimsky-Korsakov used Russian folk and oriental melodies in his First Symphony, Stasov and the other nationalists dubbed it the "First Russian Symphony," even though Rubinstein had written his Ocean Symphony a dozen years before it.^[10] These were themes Balakirev had transcribed in the Caucasus.^[10] "The symphony is good," Cui wrote to Rimsky-Korsakov in 1863, while the latter was out on naval deployment. "We played it a few days ago at Balakirev's—to the great pleasure of Stassov. It is really Russian. Only a Russian could have composed it, because it lacks the slightest trace of any stagnant Germanness."^[12]

Orientalism was not confined to using authentic Eastern melodies.^[13] What became more important than the melodies themselves were the musical conventions added to them.^[13] These conventions allowed orientalism to become an avenue for writing music on subjects considered unmentionable otherwise, such as political themes and erotic fantasies.^[11] It also became a means of expressing Russian supremacy as the empire expanded under Alexander II.^[11] This was often reinforced through misogynist symbolism—the rational, active and moral Western man versus the irrational, passive and immoral Eastern woman.^[11]

Two major works entirely dominated by orientalism are Rimsky-Korsakov's symphonic suite Antar and Balakirev's symphonic poem Tamara.^[13] Antar, set in Arabia, uses two different styles of music, Western (Russian) and Eastern (Arabian).^[13] The first theme, Antar's, is masculine and Russian in character.^[13] The second theme, feminine and oriental in melodic contour, belongs to the queen, Gul Nazar.^[13] Rimsky-Korsakov was able to soften the implicit misogyny to some extent.^[13] However, female sensuality does exert a paralyzing, ultimately destructive influence.^[13] With Gul Nazar extinguishing Antar's life in a final embrace, the woman overcomes the man.^[13]

Balakirev gives a more overtly misogynistic view of oriental women in Tamara.^[13] He had originally planned to write a Caucasan dance called a lezginka, modeled on Glinka, for this work.^[14] However, he discovered a poem by Mikhail Lermontov about the beautiful Tamara, who lived in a tower alongside the gorge of Daryal.^[14] She lured travelers and allowed them to enjoy a night of sensual delights, only to kill them and throw their bodies into the River Terek.^[14] Balakirev uses two specific codes endemic to orientalism in writing Tamara. The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication.^[13] The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas, depict sensual longing.^[13] Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of Tamara in 1898.^[14]

A direct result of such orientalism was the big influence that this circle left on the formation of classical traditions in other nations of the east and south of Russia. For instance, one of Rimsky-Korsakov's famous students, Alexander Spendiaryan went on to become the founder of Armenian classical music, carrying on the traditions and aesthetics of the Mighty Handful to the Caucasus.

Quotations[link]

Rimsky-Korsakov provides the following picture of "The Mighty Handful" in his memoirs, Chronicle of My Musical Life (translated by J. A. Joffe):

Tastes[link]

"The tastes of the circle leaned towards Glinka, Schumann, and Beethoven's last quartets ... they had little respect for Mendelssohn ... Mozart and Haydn were considered out of date and naive ... J. S. Bach was held to be petrified ... Chopin was likened by Balakirev to a nervous society lady ... Berlioz was highly esteemed ...Liszt was comparatively unknown ... Little was said of Wagner ... They respected Dargomyzhsky for the recitative portions of Rusalka ... [but] he was not credited with any considerable talent and was treated with a shade of derision. ...Rubinstein had a reputation as a pianist, but was thought to have neither talent nor taste as a composer."

Balakirev[link]

"Balakirev, who had never had any systematic course in harmony and counterpoint and had not even superficially applied himself to them, evidently thought such studies quite unnecessary ... An excellent pianist, a superior sight reader of music, a splendid improviser, endowed by nature with the sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through a vast musical erudition, with the help of an extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature ... He instantly felt every technical imperfection or error, he grasped a defect in form at once. Whenever I or other young men, later on, played him our essays at composition, he instantly caught all the defects of form, modulation, and so on, and forthwith seating himself at the piano, he would improvise and show how the composition in question should be changed exactly as he indicated, and frequently entire passages in other people's compositions became his and not their putative authors' at all. He was obeyed absolutely, for the spell of his personality was tremendous. ... His influence over those around him was boundless, and resembled some magnetic or mesmeric force. ... he despotically demanded that the tastes of his pupils should exactly coincide with his own. The slightest deviation from his taste was severely censured by him. By means of raillery, a parody or caricature played by him, whatever did not suit him at the moment was belittled — and the pupil blushed with shame for his expressed opinion and recanted...."

Abilities[link]

"Balakirev considered me a symphony specialist ... in the sixties, Balakirev and Cui, though very intimate with Mussorgsky and sincerely fond of him, treated him like a lesser light, and of little promise at that, in spite of his undoubted talent. It seemed to them that there was something missing in him and, in their eyes, he was in need of advice and criticism. Balakirev often said that Mussorgsky had "no head" or that his "brains were weak." ... Balakirev thought that Cui understood little in symphony and musical forms and nothing in orchestration, but was a past master in vocal and operatic music; Cui, in turn, thought Balakirev a master in symphony, form, and orchestration, but with little liking for operatic composition and vocal music in general. Thus they complemented each other, but each, in his own way, felt mature and grown up. Borodin, Mussorgsky, and I, however — we were immature and juvenile. Obviously, towards Balakirev and Cui we were in somewhat subordinate relations; their opinions were listened to unconditionally...."

Influence[link]

Except perhaps for Cui, the members of this group influenced or taught many of the great Russian composers who were to follow, including Alexander Glazunov, Mikhail Ippolitov-Ivanov, Sergei Prokofiev, Igor Stravinsky, and Dmitri Shostakovich. They also influenced the two french symbolist composers Maurice Ravel and Claude Debussy through their radical tonal language.

Timeline[link]

<timeline> ImageSize = width:800 height:155 PlotArea = width:620 height:135 left:100 bottom:20 AlignBars = justify

Colors =

 id:Borodin            value:tan1
 id:Cui                value:rgb(1,0.6,0.5)
 id:Balakirev          value:lightorange
 id:Mussorgsky         value:gray(0.8)
 id:Rimsky-Korsakov    value:coral
 id:Tsar               value:white
   

Period = from:1830 till:1920 TimeAxis = orientation:horizontal ScaleMajor = unit:year increment:10 start:1830 ScaleMinor = unit:year increment:10 start:1830

Define $markred = text:"*" textcolor:red shift:(0,3) fontsize:10

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 align:center textcolor:black fontsize:8 mark:(line,black) width:18 shift:(0,-5)

 bar:Tsar color:white text:""
 from: 1830 till: 1855 color: orange text: Nicholas I       
 from: 1855 till: 1881 color: yellow text: Alexander II
 from: 1881 till: 1894 color: orange text: Alexander III
 from: 1894 till: 1917 color: yellow text: Nicholas II
 bar:Borodin color:Borodin
 from: 1833 till: 1887  
 bar:Cui color:Cui
 from: 1835 till: 1918 
 bar:Balakirev color:Balakirev
 from: 1837 till: 1910  
 bar:Mussorgsky color:Mussorgsky
 from: 1839 till: 1881  
 bar:Rimsky-Korsakov color:Rimsky-Korsakov
 from: 1844 till: 1908  

LineData=

  at:1855 color:black width:0.5 layer:back
  at:1881 color:black width:0.5 layer:back
  at:1894 color:black width:0.5 layer:back
  at:1917 color:black width:0.5 layer:back

</timeline>

See also[link]

• List of Russian composers
• Tchaikovsky and the Five
• Les Six, French composers
• Armenian Mighty Handful
• Group of Eight (music), Spanish composers

References[link]

External links[link]

• Encyclopædia Britannica article about "The Five" [1]
• The Article about The Five in "1000 years of Russian Music" [2]
• Turgenev and Russian Music: The Mighty Handful (with music samples)
• Russian musical influences of The Five on works of Claude Debussy [3]

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Star Slinger (Born Darren Williams) is a hip hop producer based in Manchester, UK taking influences from memphis rap to shoegaze.^[1][2] He first came to the attention after self-releasing a beat tape via the internet in the summer of 2010 entitled "Volume 1". Williams picked up noteworthy press interest from Pitchfork Media, SPIN Magazine, Dazed & Confused Magazine, was named in the NME's Top 50 Bands of 2011 and was interviewed by Rob Da Bank & Annie Mac on BBC Radio 1. He also received plays from Diplo on a mix for Australia's Triple J Radio Station.^[3][4] In October 2011, Star Slinger released his first real single on Mountain Dew's label "Green Label Sound" with Kansas based R & B singer Reggie B along with a remix by Diplo for free on their website.^[5] Influential BBC Radio 1 DJ Annie Mac named it "Single of The Week". Despite speculation, not much info has been confirmed regarding the forthcoming Star Slinger album. Star Slinger is known to post all his official and unofficial remixes on his Soundcloud profile. "Star Slinger Soundcloud Profile". http://www.soundcloud.com/starslingeruk. Retrieved 16 Dec 2011. 

Press quotes[link]

"Best new act of the year by miles." – The Guardian^[6]

"Combines the hyper soul sampling of Kanye West or Dipset producers Heatmakerz with a bubbling psychedelia reminiscent of J Dilla’s spacier moments." - Pitchfork Media
^[7]

Background[link]

Williams studied music technology at Leeds Metropolitan University.^[8]

Discography[link]

Albums/EP's:

• Teams vs. Star Slinger - Self-Titled (EP) Mexican Summer (2011)
• Volume 1 (LP) [Self-released] (2010)
• Rogue Cho Pa (EP) [Self-released] (2011)

Singles

• Dumbin' (featuring Reggie B) Green Label Sound (2011)
• Remedy (7") - Double Denim Records (2011)

References[link]

External links[link]