name	Tom Gola
position	Small forward / Guard
height ft	6
height in	6
weight lb	205
number	15, 6
birth date	January 13, 1933
birth place	Philadelphia, Pennsylvania
nationality	American
high school	La Salle
college	La Salle
draft pick	Territorial
draft year	1955
draft team	Philadelphia Warriors
career start	1955
career end	1966
years1	1955–1962
team1	Philadelphia / San Francisco Warriors
years2	1962–1966
team2	New York Knicks
highlights	NBA Champion (1956) 5× NBA All-Star (–) All-NBA Second Team (1958) NCAA Final Four MOP (1954) NCAA Champion (1954) Helms Foundation Player of the Year (1954) UPI Player of the Year (1955) 3× Consensus NCAA All-American First Team (1953–1955) NIT Co-MVP (1952)
stat1label	Points
stat1value	7,871 (11.3 ppg)
stat2label	Rebounds
stat2value	5,417 (7.8 rpg)
stat3label	Assists
stat3value	2,962 (4.2 apg)
bbr	golato01
letter	g
hof player	thomas-j-tom-gola }}

name	Tom Gola
state house	Pennsylvania
district	170th
term start	January 7, 1969
term end	January 6, 1970
predecessor	District Created
successor	Alvin Katz
office2	Philadelphia City Controller
term start2	January 6, 1970
term end2	January, 1974
predecessor2	Alexander Hemphill
successor2	William G. Klenk
birth place	Philadelphia, PA
party	Republican
alma mater	La Salle University
website	}}

Thomas (Tom) Joseph Gola (born January 13, 1933, in Philadelphia, Pennsylvania) is a retired American basketball player.

Early Life

Gola was praised as a great all-around player as a high school student at La Salle College High School, where he led the Explorers to a Philadelphia Catholic League Championship. He entered La Salle a year after another Philadelphia basketball Hall of Famer, Paul Arizin, graduated from Villanova.

La Salle

Gola was one of the most talented collegiate athletes in Philadelphia sports history. He came to national attention while playing for the hometown La Salle University Explorers men's basketball team in 1954 as an All-American forward. Gola paced the Explorers to the NCAA basketball championship in 1954 and was named Tournament MVP. That same season he was selected as National Player of the Year. As a senior, Gola helped La Salle finish as the runner-up in the 1955 NCAA Tournament. He averaged 20.9 points and 19.0 rebounds during 115 games and holds the NCAA record with 2,201 career rebounds. At 6'6" (198 cm), Gola was clearly a forward who could shoot/score, rebound and defend, but he also had the ballhandling (dribbling, passing) skills of a guard, and with his shooting range and All-Pro defensive skills, could play just as well in the backcourt. He was inducted into the La Salle Hall of Athletes in 1961 and the Big 5 Hall of Fame in 1986. Gola was listed on "ESPN's Countdown to the Greatest" College basketball players as #17.

NBA

After a phenomenal college career, Gola turned pro with the Philadelphia Warriors as a territorial draft pick. He teamed with All-Pros Paul Arizin and Neil Johnston to lead the Warriors to NBA championship in 1956. He gained praise for concentrating on defense, passing and rebounding and allowing the other two to be the chief scorers during these years.

In 1959, Johnston temporarily retired due to a knee injury and the Warriors added seven-foot superstar Wilt Chamberlain. Again sacrificing himself for his team, Gola helped the Warriors back to the NBA Finals, but they could not beat the star-studded Boston Celtics during his seasons in the early 1960s with Chamberlain.

Gola played with the New York Knicks from 1962 to 1966. He was enshrined in the Naismith Memorial Basketball Hall of Fame on April 26, 1976.

Return to La Salle

In 1968, he returned to his alma mater as head coach, leading the Explorers to a 37-13 record during his two-year stay. He was named Coach of the Year by Philadelphia and New York journalists. He led the Explorers to a 23-1 record during the 1968-69 season, but La Salle had been barred from the NCAA Tournament before the season because an alumnus had offered some players "no-show" jobs. The school's Tom Gola Arena was named after him.

Personal

Gola was married to Caroline in June 1955, and they had one son. Tom Sr. served in the military from 1956 to 1958.

Political career

After his retirement from basketball, Gola served in the Pennsylvania State Legislature, followed by a stint as Philadelphia City Controller. He ran for Mayor of Philadelphia in 1983, but came in third in the contested Republican primary election in the spring.

College basketball achievements

All-District player (four times, 1952–55)

All-State player (four times, 1952–55)

All-America selection (four times, 1952–55)

Consensus All-American (three times, 1953–55)

NIT Championship, NIT Co-MVP (1952)

First alternate to US Olympic Basketball Team (1952)

NCAA Championship, NCAA Tournament MVP (1954)

College Basketball Player of the Year (1954)

NCAA all-time rebounding leader (2,201)

2,462 points

102-19 (.843) won-lost record

#15 retired by La Salle

Pro basketball achievements

NBA championship (1956)

All-NBA second team (1958)

5-time NBA all-star (1960–1964)

One of only two players to win NCAA, NIT & NBA championships

Elected to Basketball Hall of Fame (1976)

Madison Square Garden Hall of Fame

See also

List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds

List of NCAA Division I men's basketball career rebounding leaders

References

External links

NBA.com Bio

Basketball Hall of Fame profile

}}

Category:1933 births Category:Living people Category:Naismith Memorial Basketball Hall of Fame inductees Category:American basketball coaches Category:American basketball players Category:New York Knicks players Category:Philadelphia Warriors draft picks Category:Philadelphia Warriors players Category:San Francisco Warriors players Category:La Salle Explorers men's basketball players Category:La Salle Explorers men's basketball coaches Category:Sportspeople from Philadelphia, Pennsylvania Category:American people of Polish descent Category:American people of Polish descent Category:La Salle University alumni Category:Members of the Pennsylvania House of Representatives Category:American athlete-politicians Category:National Collegiate Basketball Hall of Fame inductees

es:Tom Gola fr:Tom Gola it:Tom Gola ja:トム・ゴーラ

name	Ekrem JevrićЕкрем Јеврић
birth name	Ekrem Jevrić
birth date	October 25, 1961
birth place	Plav, Yugoslavia(today Montenegro)
resting place coordinates
residence	Yonkers, New York
ethnicity	Yugoslav
citizenship	United States
occupation	singer, building porter, cab driver
years active	2010-present
website

Ekrem Jevrić, nicknamed Snazni Ekremko, is a popular Montenegrin singer and musician, based in Yonkers, New York. His YouTube video "Kuća poso" (''House, work'') earned him instant popularity across former Yugoslavia, mostly because it was "so bad that it's good". The internet phenomenon was noted by BBC and The Independent

Biography

He was born in Plav, Yugoslavia. As he started to smoke at age fourteen, and his father refused to buy him cigarettes, he went to Podgorica alone to earn money. After, he went to work in Slovenia. In 1985 he married his wife Igbala Jevrić. He moved to Canada in 1988, and soon after to the United States. He has four sons: Enis, Verdin, Hajrudin and Berat. His most famous song is "Kuća poso" (''Home, work'' or ''From home to work''), which achieved instant success on Youtube, reaching over 9 million views (2 million in first month), and growing to 10. Jevrić recorded his first album, titled ''Kuća poso'' in March 2010. He did a photo shoot for Dolce & Gabbana Winter 2011 Collection, positing as an Italian tailor, and he claims that the $1000 fee he received for the campaign but he said that photo shooting has nothing to do with his popularity, he was cast because of his Italian look.

At the end of 2010 Ekrem took part in the popular Serbian reality show "Farma". Despite being seen as a winner, Ekrem ended up third. Participation in this reality show brought him even more fame, because of the show's extreme popularity among ex-Yugoslav population.

References

External links

Ekrem Jevrić Gospoda - Novi Mesija!

Ekrem Jevrić - Farma Forum www.farma.in.rs

Kuća Poso official music video on YouTube

Ekrem Jevric New Duet Song - Naked,Naked

Dolce & Gabbana Campaign Preview of Winter 2011 Collection

Category:Yugoslav people Category:People from Plav Category:Montenegrin singers Category:Living people Category:Internet memes Category:1961 births

de:Ekrem Jevrić sl:Ekrem Jevrić sr:Екрем Јеврић sv:Ekrem Jevrić

Uncle Tom is a derogatory term for a person of a low status group who is overly subservient with authority, or a black person who behaves in a subservient manner to white people.

The term comes from the title character of Harriet Beecher Stowe's 1852 novel ''Uncle Tom's Cabin''. Critical and popular views of both the character and the novel have shifted over time, leading to a shift in the term's use.

Original characterization and critical evaluations

At the time of the novel's initial publication in 1851 Uncle Tom was a rejection of the existing stereotypes of minstrel shows; Stowe's melodramatic story humanized the suffering of slavery for White audiences by portraying Tom as a Christlike figure who is ultimately martyred, beaten to death by a cruel master because Tom refuses to betray the whereabouts of two women who escape from slavery. Stowe reversed the gender conventions of slave narratives by juxtaposing Uncle Tom's feminine passivity against the brave daring of three African American women who escape from slavery.

The novel was very influential and commercially successful, first published in serial form in 1851-1852 and in book version from 1852 onward. An estimated 500,000 copies of the novel itself had sold in the United States and internationally by 1853, including unauthorized reprints. Senator Charles Sumner credited ''Uncle Tom's Cabin'' for the election of Abraham Lincoln and Lincoln himself reportedly quipped that Stowe had triggered the American Civil War. Frederick Douglass praised the novel as "a flash to light a million camp fires in front of the embattled hosts of slavery". Despite Douglass's enthusiasm, an anonymous 1852 reviewer for William Lloyd Garrison's publication ''The Liberator'' suspected a racial double standard in the idealization of Uncle Tom:

:Uncle Tom’s character is sketched with great power and rare religious perception. It triumphantly exemplifies the nature, tendency, and results of CHRISTIAN NON-RESISTANCE. We are curious to know whether Mrs. Stowe is a believer in the duty of non-resistance for the White man, under all possible outrage and peril, as for the Black man… [For whites in parallel circumstances, it is often said] Talk not of overcoming evil with good—it is madness! Talk not of peacefully submitting to chains and stripes—it is base servility! Talk not of servants being obedient to their masters—let the blood of tyrants flow! How is this to be explained or reconciled? Is there one law of submission and non-resistance for the Black man, and another of rebellion and conflict for the white man? When it is the whites who are trodden in the dust, does Christ justify them in taking up arms to vindicate their rights? And when it is the blacks who are thus treated, does Christ require them to be patient, harmless, long-suffering, and forgiving? Are there two Christs?

James Weldon Johnson, a prominent figure of the Harlem Renaissance, expresses an ambivalent opinion in his autobiography:

:For my part, I was never an admirer of Uncle Tom, nor of his type of goodness; but I believe that there were lots of old Negroes as foolishly good as he; the proof of which is that they knowingly stayed and worked on the plantations that furnished sinews for the army which was fighting to keep them enslaved.”

In 1949 American writer James Baldwin rejected the emasculation of the title character "robbed of his humanity and divested of his sex" as the price of spiritual salvation for a dark-skinned man in a fiction whose African-American characters, in Baldwin's view, were invariably two dimensional stereotypes. To Baldwin, Stowe was closer to a pamphleteer than a novelist and her artistic vision was fatally marred by polemics and racism that manifested especially in her handling of the title character. Stowe had stated that her sons had wept when she first read them the scene of Uncle Tom's death, but after Baldwin's essay it ceased being respectable to accept the melodrama of the Uncle Tom story. Uncle Tom became what critic Linda Williams describes as "an epithet of servility" and the novel's reputation plummeted until feminist critics led by Jane Tompkins reassessed the tale's female characters. According to Debra J. Rosenthal in an introduction to a collection of critical appraisals for the ''Routledge Literary Sourcebook on Harriet Beecher Stowe's Uncle Tom's Cabin'', overall reactions have been mixed with some critics praising the novel for affirming the humanity of the African American characters and for the risks Stowe assumed in taking a very public stand against slavery before abolitionism had become a socially acceptable cause, and others criticizing the very limited terms upon which those characters' humanity was affirmed and the artistic shortcomings of political melodrama.

Inspiration

A specific impetus for the novel was the Fugitive Slave Act of 1850, which imposed heavy fines upon law enforcement personnel in Northern states if they refused to assist the return of people who escaped from slavery. The new law also stripped African Americans of the right to request a jury trial or to testify on their own behalf, even if they were legally free, whenever a single claimant presented a sworn affidavit of ownership. The same law authorized a $1000 fine and six months imprisonment for anyone who knowingly harbored or assisted a fugitive slave. These terms infuriated Stowe, so the novel was written, read, and debated as a political abolitionist tract.

Stowe drew inspiration for the Uncle Tom character from several sources. The best-known of these was Josiah Henson, whose autobiography was originally published in 1849 and later republished in extensively revised editions after the publication of ''Uncle Tom's Cabin''. Henson was enslaved at birth in 1789. He became a Christian at age eighteen and took up preaching. Henson attempted to purchase his freedom for $450, but after selling his personal assets to raise $350 and signing a promissory note for the remainder Henson's owner raised the price to $1000; Henson was unable to prove that the original agreement had been for a lesser amount. Shortly afterward Henson was ordered on a trip south to New Orleans, and when he learned that he was to be sold there he obtained a weapon and contemplated murdering his white companions, but decided against violence because his Christian morals forbade it. A sudden illness in one of his companions forced their return to Kentucky, and shortly afterward Henson escaped north with his family, settling in Canada where he became a civic leader.

Stowe read the first edition of Henson's narrative and later confirmed that she had incorporated elements from it into ''Uncle Tom's Cabin''. Kentucky and New Orleans figure in both Henson's narrative and the novel's settings, and some other story elements are similar.

In the public imagination, however, Henson became synonymous with Uncle Tom. After Stowe's death her son and grandson claimed she and Henson had met before ''Uncle Tom's Cabin'' was written, but the chronology does not hold up to scrutiny and she probably drew material only from his published autobiography.

Minstrel stock character

Both the novel and its title character inspired numerous derivative works during the decade after its release, some of which lampooned and distorted the portrayal of the title character with politically loaded overtones. American copyright law before 1856 did not give novel authors any control over derivative stage adaptations, so Stowe neither approved the adaptations nor profited from them. Minstrel show retellings in particular, usually performed by white men in blackface, tended to be derisive and pro-slavery, transforming Uncle Tom from Christian martyr to a fool or an apologist for slavery.

Adapted theatrical performances of the novel remained in continual production in the United States for at least eighty years. These representations had a lasting cultural impact and influenced the pejorative nature of the term ''Uncle Tom'' in later popular use.

Although not all minstrel depictions of Uncle Tom were negative, the dominant version developed into a stock character very different from Stowe's hero. Stowe's Uncle Tom was a muscular and virile man who refused to obey when ordered to beat other slaves; the stock character of minstrel shows became a shuffling asexual individual with a receding hairline and graying hair. To Jo-Ann Morgan, author of ''Uncle Tom's Cabin as Visual Culture'', these shifting representations undermined the subversive layers of Stowe's original characterization by redefining Uncle Tom until he fit within prevailing racist norms. Particularly after the Civil War, as the political thrust of the novel which had arguably helped to precipitate that war became obsolete to actual political discourse, popular depictions of the title character recast him within the apologetics of the Lost Cause of the Confederacy. The virile father of the abolitionist serial and first book edition degenerated into a decrepit old man, and with that transformation the character lost the capacity for resistance that had originally given meaning to his choices. Stowe never meant Uncle Tom to be a derided name, but the term as a pejorative has developed based on how later versions of the character, stripped of his strength, were depicted on stage.

Or as Claire Parfait, author of ''The Publishing History of Uncle Tom's Cabin, 1852-2002'' opines, the many alterations in retellings of the Uncle Tom story demonstrate an impulse to correct the retellers' perceptions of its flaws and "the capacity of the novel to irritate and rankle, even a century and a half after its first publication."

See also

Tom Shows

House Negro

Jump Jim Crow

Acting white

List of ethnic slurs

Uncle Tom syndrome

References

Notes

External links

An article on the Uncle Tom caricature

Category:Pejorative terms for people Category:Ethnic and religious slurs Category:American slang Category:Fictional slaves Category:American culture Category:Stereotypes of African Americans Category:Racism Category:African-American culture

de:Uncle Tom es:Tío Tom gl:Tío Tom nl:Uncle Tom no:Onkel Tom pt:Uncle Tom

name	Fabrizio De André
background	solo_singer
birth date	February 18, 1940
death date	January 11, 1999
origin	Genoa, Italy
instrument	Vocals, guitar, acoustic guitar, classical guitar
genre	Chanson, Folk music
occupation	Singer-songwriter
years active	1958–1999
label	Karim, Sony BMG, Ricordi
website	Fabrizio De André Foundation
notable instruments	}}

Fabrizio De André (18 February 1940 - 11 January 1999) was an Italian singer-songwriter. In his works he often told stories of marginalized and rebellious people, prostitutes and knaves, and attacked the hypocrisies of the Catholic Church. In Italy and in the rest of world he is considered a poet because of the quality of his lyrics. He was an atheist.

Biography

De André was born in Genova, welcomed into the world by Gino Marinuzzi's "Country Waltz" on the home gramophone. Twenty-five years later, Fabrizio De André would set his "Waltz for a Love" to Marinuzzi's waltz tune.

When the war broke out, the De André family had to seek refuge in a country farm near Revignano (a little town near Asti), in the Piemonte. Fabrizio's father, who was an Anti-fascista pursued by the police, joined the partisans. In 1945 the De André family moved back to Genova. Fabrizio went to primary school, first at the Marcellian Sisters' School and, later, at the Cesare Battisti public school. He went on to the Liceo Classico "Cristoforo Colombo"; after his final examination, he enrolled in the Law School of the University of Genova; but he did not graduate (he gave up when he had only a few exams left). De André played the violin first, then the guitar, and joined a number of local jazz bands (jazz was his "first love").

First recordings

In 1961 De André recorded his first two songs, "Nuvole barocche" ("Baroque Clouds") and "E fu la notte" ("And There Was Night"); in 1962 he married Puny Rignon, a Genoese woman nearly ten years older. That same year the couple had their first and only son, Cristiano, who would follow in his father's footsteps and become a musician and songwriter as well.

In the following years De André wrote a number of songs which made him known to a larger public, soon becoming classic hits: "La guerra di Piero" ("Peter's War"), "La ballata dell'eroe" ("The Hero's Ballad"), "Il testamento di Tito" ("Titus's Will"), "La Ballata del Michè" ("Mike's Ballad"), "Via del Campo" (literally "Field Street", a famous street in Genoa), "La canzone dell'amore perduto" ("Song for the Lost Love"), "La città vecchia" ("Old Downtown"), "Carlo Martello ritorna dalla battaglia di Poitiers" ("Charles Martel on His Way Back from Poitiers", written together with actor Paolo Villaggio, one of De André closest friends), and "La canzone di Marinella" ("Marinella's Song").

Volume 1

De André's first LP, ''Volume 1'', was issued shortly after (1968), followed by ''Tutti morimmo a stento'' ("We All Died Agonizingly") and ''Volume 3''; both LPs soon reached the top of the Italian hit-parade. The former contained a personal version of "Eroina" ("Heroin") by the poet Riccardo Mannerini, entitled "Cantico dei drogati" ("Canticle of the Junkies").

''La buona novella''

In 1970 De André wrote ''La buona novella'' ("The Good News" - a literal rendition of the etymology of gospel), a concept album based on Christ's life as told in the Apocrypha. The album was very controversial, especially the song "Il testamento di Tito" ("Titus's Will"), in which one of the thieves crucified together with Jesus violently refutes the Ten Commandments. He had written a number of songs (like "Preghiera in Gennaio", "Prayer in January", and "Si chiamava Gesù", "His Name Was Jesus") in which he showed a Christian-like open-minded spirit and in the meantime invited the audience in his own delicate way to think about the manipulation of the church.

''Non al denaro non all'amore né al cielo''

In 1971 he wrote another celebrated concept album, ''Non al denaro non all'amore né al cielo'' ("Neither to money, nor to love, nor to Heaven"), based on Edgar Lee Masters's ''Spoon River Anthology''; in an interview the LP was introduced to Fernanda Pivano, the first Italian translator of the "Anthology" and one of Cesare Pavese's most intimate friends. Fabrizio De André's name began to be associated with literature and poetry, and some of his songs found their way into school books.

''Storia di un impiegato'' and ''Canzoni''

In 1973 he wrote his most "political" album, ''Storia di un impiegato'' ("Story of an Employee"). The following year, De André issued ''Canzoni'' ("Songs"), a collection of his translations from Georges Brassens, Leonard Cohen and Bob Dylan. The album also included a number of his old songs from the 1960s.

''Volume 8''

In 1975 De André (who, meanwhile, had divorced his wife Puny and begun a relationship with the folksinger Dori Ghezzi) wrote ''Volume 8'' with another famous Italian singer-songwriter, Francesco De Gregori. With this album, he broke with "tradition" in order to find a new approach to poetry and music. The lyrics show how deep the influence of modern poetry is on De André's work. 1975 marked a real change in De André's life: he began to perform in a series of memorable concerts (after his first performances of the early 1960s, he had always refused to appear in public, except for a couple of TV broadcastings), and planned to move to Sardinia with his new love. To this purpose, he bought the Agnata homestead, near Tempio Pausania, in the northern part of the island, devoting himself to farming and cattle breeding.

In 1977 the couple had a daughter, Luisa Vittoria (nicknamed "Luvi"). The following year De André issued a new LP, ''Rimini''. Most songs included on this album were written together with Massimo Bubola, a young singer-songwriter from Verona.

Concerts with PFM and kidnapping

1979 was another milestone in De André's life. The year began with a series of famous live concerts from which a double LP is compiled; De André was accompanied by one of the most renowned Italian progressive rock bands, Premiata Forneria Marconi (PFM); the albums were released as ''In Concerto'' (1979), and ''In Concerto - Volume 2'' (1980). At the end of August, however, a most striking episode occurred: De André and Ghezzi were kidnapped for ransom by a gang of Sardinian bandits and held prisoners in the Supramonte mountain. The couple was released four months later; ransom was reportedly paid; as De André states in some interviews he was helped by his father in finding the money, and had to start a tour shortly after the release of the "Indiano" album to repay him. When the bandits were apprehended by the police, De André was called as witness before the Court. He showed compassion for some of his kidnappers, since he was well treated by his "guardians" and declared his solidarity with them. "They were the real prisoners, not I", he said. This declaration is a good example of De André's viewpoint and approach. He said he understood they were driven by need, but he did not show any compassion for the higher echelon of the group that organized his kidnapping, since they were already rich.

This dramatic episode, and the hard life of the Sardinian people, gave him inspiration for his following album, released in 1981. The album is untitled, but, from the image of a Native American appearing on the cover, the mass-media call it "The Indian". In De André's poetical vision, the American Indians merge with the poor Sardinian shepherds as an allegory for the marginalization and subjugation of people who are "different". The album contains one of his most famous songs, "Fiume Sand Creek" ("Sand Creek River"): in De André's unique, allusive way it tells the story of the massacre of defenseless Native Americans by US Army troops on 29 November 1864.

''Crêuza de mä''

In 1984 he turned to his native Genoese dialect and wrote, in collaboration with former PFM member Mauro Pagani, one of his most celebrated albums, ''Crêuza de mä'' ("Path to the sea", the term "Crêuza" actually indicates a narrow road bordered by low walls, typical of Genoa and Liguria in general). The songs are a tribute to the traditional music from the Mediterranean basin. The album was awarded an unending series of prizes and was greeted as "the best Italian album of the 1980s". It was named by David Byrne as one of his favourite albums. Wim Wenders said that it was the album that introduced him to the music of De André, who the director names as one of his favourite artists. As Pagani has repeatedly stated, De Andrè wrote the lyrics for the album, while the music was almost entirely Pagani's.

1990s

In 1989 De André married Ghezzi; the following year a new album was issued, ''Le nuvole'' ("The Clouds"), which included two more songs in the Genoese dialect, one in the Gallurese dialect of Northern Sardinia ("Monti di Mola") and one in the Neapolitan dialect, the highly ironic "Don Raffaè". A new series of triumphal live concerts followed, from which a double LP, ''1991 Concerti'' ("Concerts 1991"), was drawn. In 1992 he started a new series of live concerts, performing in a number of theatres for the first time.

De André's last original album, ''Anime salve'' ("Saved Souls"), was issued in 1996. Written in collaboration with Ivano Fossati, it represents a sort of "spiritual will", and includes songs such as "Khorakhané" (dedicated to the Muslim Roma people), "Disamistade" (a return to his beloved Sardinian themes, which has been translated into English and sung by The Walkabouts) and "Smisurata preghiera" ("An Infinite Prayer"), based on the Colombian writer and storyteller Álvaro Mutis's ''The Adventures and Misadventures of Maqroll''. De André also sang a Spanish version of this song, ''Desmedida plegaria''.

In 1997, he started a new tour of theatre concerts and a new song collection, called ''M'innamoravo di tutto'' ("I Used to Fall in Love with Everything", a quote from one of his older songs, ''Coda di Lupo'' - ''Wolf's Tail''), was issued. The ''Anime salve'' concert tour went on up to the late summer of 1998, when De André stopped at the first symptoms of a serious disease, which was later diagnosed as lung cancer.

De André died in Milan on 11 January 1999, at 2:30 am. Two days later, he was buried in his native town, Genoa; the ceremony was attended by an immense crowd of about 20,000. He rests in the Monumental Cemetery of Staglieno, in the De André family chapel.

Discography

Albums

''Tutto Fabrizio De André (1966)''

''Volume 1 (1967)''

''Tutti morimmo a stento (1968)''

''Volume 3 (1968)''

''Nuvole barocche (1969)''

''La buona novella (1970)''

''Non al denaro non all'amore né al cielo (1971)''

''Storia di un impiegato (1973)''

''Canzoni (1974)''

''Volume 8 (1975)''

''Rimini (1978)''

''In Concerto - Arrangiamenti PFM (1979)'' ''In Concerto - Arrangiamenti PFM Vol. 2 (1980)''

''Fabrizio De André (1981)''

''Crêuza de mä (1984)''

''Le nuvole (1990)''

''1991 Concerti (1991)''

''Anime salve (1996)''

''Mi innamoravo di tutto (1997)'' (anthology)

''De André in concerto (1999)'' ''Da Genova (2000)'' ''Peccati di gioventù (2000)'' ''Ed avevamo gli occhi troppo belli (2001)'' ''Fabrizio De André in Concerto Volume II (2001)'' ''In direzione ostinata e contraria (2005)'' ''In direzione ostinata e contraria 2 (2006)''

Singles

''Periodo Karim (1961-66)''

''Il pescatore (1970)''

''Suzanne/Giovanna d'Arco (1972)''

''Una storia sbagliata/Titti (1980)''

Novels

''Un destino ridicolo (1996)'', with Alessandro Gennari - ISBN 88-06-17591-2

Notes and References

External links

Via del campo tribute website to Fabrizio De André. It hosts the English translations of some of his songs.

Antiwar Songs by Fabrizio De André translated in many different languages

Simon Evnine, a philosophy professor at the University of Miami, has translated some of De André's songs in singable rhyme.

"The other Fabrizio", with videos, songs, Italian/English lyrics and comments on Fabrizio's songs as well as articles on Fabrizio's anarchy.

Category:1940 births Category:1999 deaths Category:Italian singer-songwriters Category:People from Genoa (city) Category:Italian anarchists Category:Italian atheists Category:Italian-language singers Category:Cancer deaths in Italy Category:Kidnapped Italian people

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