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Brythonic mythology

British Iron Age religion British mythology Welsh mythology Breton mythology Mabinogion Book of Taliesin Trioedd Ynys Prydein

Religious vocations

Druids · Bards · Vates

Festivals

Samhain, Calan Gaeaf Imbolc, Gŵyl Fair Beltane, Calan Mai Lughnasadh, Calan Awst Index of related articles This box: view talk edit

The Bard (ca. 1817), by John Martin

In medieval Gaelic and British culture (Ireland, Scotland, Wales, Isle of Man, Brittany and Cornwall) a bard was a professional poet, employed by a patron, such as a monarch or nobleman, to commemorate the patron's ancestors and to praise the patron's own activities.

Originally a specific class of poet, contrasting with another class known as fili in Ireland and Highland Scotland, the term "bard", with the decline of living bardic tradition in the modern period, acquired generic meanings of an epic author/singer/narrator, comparable with the terms in other cultures (minstrel, skald, scop, rhapsode, udgatar, griot, ashik) or any poets, especially famous ones. For example, William Shakespeare is known as The Bard.^[1]

Etymology and origin[link]

The word is a loanword from Scottish Gaelic, deriving from Proto-Celtic *bardos, ultimately from Proto-Indo-European *g^wrh₂-dh₁-ó-, from the root *g^werh₂ "to raise the voice; praise". The first recorded example in English is in 1449, Lowland Scots, denoting an itinerant musician, usually with a contemptuous connotation. The word subsequently entered the English language via Scottish English.

Secondly, in medieval Gaelic and Welsh society, a bard (Scottish and Irish Gaelic) or bardd (Welsh) was a professional poet, employed to compose eulogies for his lord (see planxty). If the employer failed to pay the proper amount, the bard would then compose a satire. (c. f. fili, fáith). In other Indo-European societies, the same function was fulfilled by skalds, rhapsodes, minstrels and scops, among others, offices that may sometimes also be subsumed under the term "bard" by extension. A hereditary caste of professional poets in Proto-Indo-European society has been reconstructed by comparison of the position of poets in medieval Ireland and in ancient India in particular.^[2]

Bards (who are not the same as the Irish 'Filidh' or 'Fili') were those who sang the songs recalling the tribal warriors' deeds of bravery as well as the genealogies and family histories of the ruling strata among Celtic societies. The pre-Christian Celtic peoples recorded no written histories; however, Celtic peoples did maintain an intricate oral history committed to memory and transmitted by bards and filid. Bards facilitated the memorization of such materials by the use of poetic meter and rhyme of time.

During the era of Romanticism, when knowledge of Celtic culture was overlaid by legends and fictions, the word was reintroduced into the West Germanic languages, this time directly into the English language, in the sense of 'lyric poet', idealised by writers such as the Scottish romantic novelist Sir Walter Scott. The word was taken from Latin bardus, Greek bardos, in turn loanwords from the Gaulish language, describing a class of Celtic priest (see druid, vates). From this romantic use came the epitheton The Bard applied to William Shakespeare and, in Scotland, Robert Burns.

Irish bards[link]

In medieval Ireland, bards were one of two distinct groups of poets, the other being the fili. According to the Early Irish law text on status, Uraicecht Becc, bards were a lesser class of poets, not eligible for higher poetic roles as described above. However, it has also been argued that the distinction between filid (pl. of fili) and bards was a creation of Christian Ireland, and that the filid were more associated with the church.^[3]

Irish bards formed a professional hereditary caste of highly trained, learned poets. The bards were steeped in the history and traditions of clan and country, as well as in the technical requirements of a verse technique that was syllabic and used assonance, half rhyme and alliteration, among other conventions. As officials of the court of king or chieftain, they performed a number of official roles. They were chroniclers and satirists whose job it was to praise their employers and damn those who crossed them. It was believed that a well-aimed bardic satire, glam dicenn, could raise boils on the face of its target.

The bardic schools were extinct by the mid 17th century in Ireland and by the early 18th century in Scotland.

Scottish bards[link]

The best known group bards in Scotland were the members of the MacMhuirich family, who flourished from the 15th to the 18th centuries. The family was centred in the Hebrides, and claimed descent from a 13th century Irish bard who, according to legend, was exiled to Scotland. The family was at first chiefly employed by the Lords of the Isles as poets, lawyers, and physicians.^[4] With the fall of the Lordship of the Isles in the 15th century, the family was chiefly employed by the chiefs of the MacDonalds of Clanranald. Members of the family were also recorded as musicians in the early 16th century, and as clergymen possibly as early as the early 15th century.^[5] The last of the family to practice Classical Gaelic poetry was Domhnall MacMhuirich, who lived on South Uist in the 18th century.^[4]

Welsh bards[link]

A number of legendary bards in Welsh mythology have been preserved in medieval Welsh literature such as the Red Book of Hergest, the White Book of Rhydderch, the Book of Aneirin and the Book of Taliesin. The bards Aneirin and Taliesin may be legendary reflections of historical bards active in the 6th to 7th centuries. Very little historical information about Dark Age Welsh court tradition survives, but the Middle Welsh material came to be the nucleus of the Matter of Britain and Arthurian legend as they developed from the 13th century.

Welsh bardic tradition appears to end in the same 13th century, the Welsh campaigns of Edward I supposedly culminating in the legendary suicide of The Last Bard (c. 1283), as commemorated in the poem The Bards of Wales by the Hungarian poet János Arany in 1857 as a way of encoded resistance to the suppressive politics of his own time. There seems to be some continuity of Early Medieval Welsh tradition into the Late Middle Ages, with 14th century poets such as Dafydd ap Gwilym and Iolo Goch, and even to the present day with the Gorsedd of Bards.

Revival[link]

Works discussing "bards" 18th and 19th century Celtic revivalism include The Bard by Thomas Gray, Cuma, The warrior-bard of Erin by John Richard Best, The Bard by John Walker Ord, The Mountain Bard by James Hogg, The Bard of Mary Redcliffe by Ernest Lacy, among others. The role of bards in Neo-Druidism (such as the Order of Bards, Ovates and Druids), in Welsh nationalism and in popular notions on pre-Roman Britain originate in this context.^[6] In modern Wales the Gorsedd of Bards (Welsh: Gorsedd y Beirdd) is a society whose honorary membership is extended to those who have done great things for Wales.

From its frequent use in Romanticism, 'The Bard' became attached as a title to various poets,

• 'The Bard of Avon' (or in England, simply 'The Bard') is William Shakespeare
• 'The Bard of Ayrshire' (or in Scotland, simply 'The Bard') is Robert Burns
• 'The Bard of Olney' is William Cowper
• 'The Bard of Rydal Mount' is William Wordsworth
• 'The Bard of Twickenham' is Alexander Pope
• 'The Bard of Armagh' is Patrick Donnelly
• 'The Bard' is Bob Dylan
• 'The Bard' is Jim MacCool
• 'The Bard's Song' is Blind Guardian

In the 20th century, the word lost much of its original connotation of Celtic revivalism or Romanticism, and could refer to any professional poet or singer, sometimes in a mildly ironic tone. In the Soviet Union, singers who were outside the establishment were called bards from the 1960s.

From its Romanticist usage, the notion of the bard as a minstrel with qualities of a priest, magician or seer also entered the fantasy genre in the 1960s to 1980s, for example as the "Bard" class in Dungeons & Dragons, Bard by Keith Taylor (1981), Bard: The Odyssey of the Irish by Morgan Llywelyn (1984), and in video games in fantasy settings such as The Bard's Tale (1985). The MMORPG Forsaken World allows the player to play as a Bard.

See also[link]

Poetry portal

References[link]

External links[link]

Look up bard in Wiktionary, the free dictionary.

• Irish Bardic Poetry Corpus of Electronic Texts, University College Cork.
•  Chisholm, Hugh, ed. (1911). "Bard". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

Dan Bull
Dan Bull at the Digital Economy Bill demonstrations in London, 24 March 2010
Background information
Birth name	Daniel Bull
Also known as	Douglby, Dan Bull
Born	(1986-03-27) March 27, 1986 (age 26) Bromsgrove, Worcestershire, England
Origin	Bromsgrove, Worcestershire, England
Genres	Hip hop
Occupations	Rapper, songwriter
Years active	2006–present
Labels	Unsigned
Website	itsdanbull.com

Dan Bull is an English rapper and songwriter known for his politically orientated lyrics and specific addressing of high profile figures in his music. His music has been featured in the British press as part of attempts to save BBC Radio 6,^[1][2] campaign against the Digital Economy Bill,^[3] and protest in favour of filesharing.^[4]

Musical career[link]

[edit] 2006 - Present: Other Work (Youtube)

Dan Bull has released songs on subjects such as digital rights, the music industry, and gaming.^[5][6][7] Bull's actions have gained attention, specifically from the TalkTalk Group who requested to team up with him against the Digital Economy Bill.^[8]

Gaming Raps

Dan has acquired many of his fans through the creation of gaming raps. He has created songs about Grand Theft Auto V, Minecraft, Assassin's Creed, Star Wars: The Old Republic, Modern Warfare, Mass Effect, League of Legends, and Skyrim. The Epic Skyrim Rap is his most popular video, with over 4.5 million views.

[edit] 2009: Safe

Safe tells the story of a young man who attempts suicide at the same time as a global thermonuclear holocaust and awakens in a new, ambiguous nirvana. Along the way, Dan Bull covers such topics as summer sunshine, friendship, love and loss, alienation, politics, death, religion, suicide and insanity.^{[9][unreliable source?]}

[edit] 2011: Face

Bull announced via his blog that the upcoming album would be available in early 2011. Stating that: "It’s going to be a continuation of the narrative of my first album, but will have a very different feel and mood overall."^[10] The album focuses on topics such as medical recovery, war, love, Asperger's syndrome, alcoholism, and pride. Face was released in December 2011. The 12-track album includes ten brand new songs as well as the 2010 tracks America and John Lennon.

[edit] 2012: Sharing is caring

Dan Bull announced via his website that he was aiming to get into the UK and Global charts with his new track "Sharing is caring." He offered it on iTunes, Play.com, Amazon and on torrent via The Pirate Bay. To people who bought all 10 versions of his track, they would be thanked in a music video of his, given that they notify him with sufficient proof. The lyrical content in the different versions of his track were targeted at popular social networking sites, Facebook, Twitter. and Google+. He also offered the instrumental by itself, voice only versions, and remixes of each track.^[11] The Animal Circus remix reached the top of the Reggae charts on Amazon UK, and second place in the World category.^[12]

Discography[link]

Studio albums

• Safe (2009)
• Face (2011)

Videos[link]

• Dear Lily (2009)
• Doorways (2009)
• Free Gary (2009)
• Generation Gaming (2009)
• Dear Andy (2010)
• Dear Mandy (2010)
• Death of ACTA (2010)
• Dear Auntie (2010)
• SOPA Cabana (2011)
• Bye Bye BPI (2012)

References[link]

External links[link]

• Official website
• YouTube

Blind Guardian
Blind Guardian in Malmö, Sweden, September 21, 2006. L-R: Olbrich, Ehmke, Kürsch, Siepen, Schüren, Holzwarth
Background information
Origin	Krefeld, Germany
Genres	Power metal, progressive metal, speed metal, thrash metal
Years active	1984–present
Labels	No Remorse, Virgin, Century Media, Nuclear Blast
Associated acts	Demons and Wizards, Gamma Ray, Helloween, Iced Earth, Iron Savior, Savage Circus, Schattentantz, Power Quest
Website	www.blind-guardian.com
Members
Hansi Kürsch André Olbrich Marcus Siepen Frederik Ehmke
Past members
Thomas "Thomen" Stauch Markus Dörk Christof Theißen Hans-Peter Frey Mathias Wiesner

Blind Guardian is a German power metal band formed in the mid-1980s in Krefeld, West Germany.^[1] They are often credited as one of the seminal and most influential bands in the power metal and speed metal subgenres.^[2][3] Blind Guardian is a part of the German heavy metal scene that emerged in the mid-1980s.

The band's lyrics, written by vocalist Hansi Kürsch, are inspired by the fiction of fantasy authors such as J. R. R. Tolkien, Michael Moorcock, Robert Jordan and George R. R. Martin as well as traditional legends and epics.^[4] Over the years, a running theme has developed personifying the band members as travelling bards, leading some fans to refer to the band affectionately as "The Bards".

Biography[link]

Formation as Lucifer's Heritage (1984–1987)[link]

Blind Guardian was formed in 1984 in Krefeld, Germany, by Hansi Kürsch (vocals, bass) and Andre Olbrich (guitar) under the name Lucifer's Heritage. The band first released two demos in 1985 and 1986, despite undergoing chaotic lineup changes: Markus Dörk (guitar) and Thomen Stauch (drums) were replaced by Christof Theißen and Hans-Peter Frey, respectively. Finally, in 1987, Marcus Siepen joined and Thomen came back to form the lineup which would stay consistent for the next 18 years.

Name change and rise to success (1988–1996)[link]

After Lucifer's Heritage signed a contract with No Remorse Records, the band changed their name to Blind Guardian to avoid any speculations about Satanism (in a bio it was stated that they also wanted to distance themselves from the black metal movement, as their demos were placed in with black metal albums at local record shops). They released their debut album Battalions of Fear in 1988, which was essentially a speed metal album heavily influenced by Helloween.^[5] These two German bands had close ties, and Helloween founder Kai Hansen made a guest appearance on Blind Guardian's second LP, Follow the Blind (1989), where the band revealed some thrash metal influence.^[6][7] Their third LP, Tales from the Twilight World (1990), had a much more melodic and "epic" feeling, with usage of choir and classical music influence.

Blind Guardian signed with Virgin Records in 1991, and released their fourth studio album Somewhere Far Beyond in 1992 and the live album Tokyo Tales in 1993. Flemming Rasmussen, former Metallica producer, began working with the band in 1994, producing their fifth studio album Imaginations from the Other Side, released in 1995, and The Forgotten Tales, an album that contained half covers and half original work, released in 1996.

Later years and departure of Thomen Stauch (1997–2009)[link]

In 1998, Blind Guardian released their epic album Nightfall in Middle-Earth. "Complete with anthemic choruses, spoken word story lines, and plenty of bombastic power metal punctuating every dramatic turn", says Allmusic's Vincent Jeffries, "Nightfall in Middle-Earth is perhaps Blind Guardian's most triumphant".^[8] A concept album based on J. R. R. Tolkien's The Silmarillion,^[4] Blind Guardian's music demonstrated some folk rock influence, but also featured heavy use of Queen-style layered backing vocals. Since Nightfall, bass guitar has been played by sessional member Oliver Holzwarth, and Hansi has been able to devote all his attention to singing. Nightfall was also the last Blind Guardian album produced by Rasmussen.

Lead vocalist Hansi Kürsch

A Night at the Opera, named after the Queen album, was released four years later. On this album, the band's sound lacked almost all influence of their original speed metal. Power and progressive metal abound, with over the top orchestral backing and a consistent vocal and guitar layering throughout.^[9] Though not a true concept album, many of the lyrics dealt with the common themes of religion and relations between human and divine powers. It was followed by a live album in 2003 and a DVD, Imaginations Through the Looking Glass, in 2004, which was the last recorded Blind Guardian material to feature Thomen Stauch on drums. He left the band due to musical differences and was replaced by Frederik Ehmke. The first album with Ehmke was A Twist in the Myth, which came out in 2006.

Blind Guardian participated in the soundtrack for the In the Name of the King: a Dungeon Siege Tale fantasy movie (Uwe Boll), which came out in 2008.^[10] The band also recorded a theme song for Sacred 2 Fallen Angel role-playing video game, the prequel to Sacred.^[11]

Recent events (2010–present)[link]

André Olbrich performing in 2009

"A Voice in the Dark" was the next single from Blind Guardian that was released 25 June 2010. On July 30, 2010 the album followed, called At the Edge of Time. The band started "The Sacred Worlds and Songs Divine Tour 2010", the European dates will have the opening acts Enforcer and Steelwing. The 22 October in Gothenburg, Sweden only Steelwing was the opening act. The US dates will have Holy Grail and Seven Kingdoms and later they were announced that they would play at Wacken Open Air in 2011.

On July 21, 2011, Hansi Kürsch announced on Blind Guardian's official website that they are working on an orchestral album.^[12][13] On September 1, 2011, Oliver Holzwarth joined Rhapsody of Fire as a full-time member, after 13 years as Blind Guardian's session bass player.^[14] On January 27th, 2012, the band released a compilation album, titled Memories of a Time to Come, containing re-recorded and remixed songs from the band's entire discography.^[15]

Musical style[link]

Blind Guardian with the band's definitive scenery in background

Blind Guardian's first two albums, Battalions of Fear and Follow the Blind, were more in the style of speed metal than their following works. Beginning with their third album Tales from the Twilight World, Blind Guardian gradually began to write more complicated compositions focusing less on speed. As of their sixth album, Nightfall in Middle Earth, Hansi stopped playing bass to focus on singing. At this point the band began to incorporate large amounts of orchestral arrangements, and utilized the technique of overdubbing, heavily influenced by the English rock band Queen.^[16]

Blind Guardian's music features the staccato guitars and double bass drumming characteristic of power metal, as well as the use of overdubs and numerous backing vocals to create a dense sound. This technique, especially notable in the guitar and vocal tracks, creates the impression of a vast army of musicians playing in unison and singing in harmony. This proved significant on all albums after the first two but most particularly on A Night at the Opera.

Another definitive feature of Blind Guardian music is frequent use of folk tunes and instruments, especially in power ballads such as "Lord of the Rings", "The Bard's Song", "A Past and Future Secret", "Skalds and Shadows" and "Curse My Name", among others.

Side projects[link]

Along with Jon Schaffer, the leader and founder of Iced Earth, Kürsch is a member of Demons and Wizards, where he is the lead singer.

Blind Guardian have been working on and off for eight years on an orchestral project writing music about The Lord of the Rings (negotiations failed to be included on the famous The Lord of the Rings film trilogy as the soundtrack, because the band wanted to concentrate on their next album). Although it will not be a power metal album, it will be published under the name of Blind Guardian because it matches the theme of the band's lyrics, according to Hansi.^[17]

Due to the tsunami that struck Japan on March 11, 2011, Blind Guardian began working with their former record company, EMI Music, and auctioned off an exclusive studio session for two in the Twilight Hall Studio in Grefrath, Germany for charity in which 100% of proceeds would be donated to the tsunami relief efforts.^[18] The auction ended on April 22, 2011 with a final bid of £1,171.00.^[19]

Line-up[link]

Current members[link]

• Hansi Kürsch – lead vocals (1984–present), bass (1984–1996)
• André Olbrich – lead guitar, backing vocals (1984–present)
• Marcus Siepen – Rhythm guitar, backing vocals (1987–present)
• Frederik Ehmke – drums, percussion, flute and bagpipes (2005–present)

With:

• Thomas Hackmann (sessional member) – backing vocals (1990–present)
• Oliver Holzwarth (sessional and live member) – bass, backing vocals (1997–present)
• Michael Schüren (sessional member) – keyboards, grand piano (1997-present)
• Olaf Senkbeil (sessional member) - backing vocals (1998–present)
• Pat Bender (sessional member) – keyboards, sound effects (2002–present)

Former members[link]

• Thomas "Thomen" Stauch – drums (1984–1985, 1987–2005)
• Markus Dörk – Guitars (1984–1985)
• Christof Theißen – Rhythm guitar (1986)
• Hans-Peter Frey – drums (1986)
• Mathias Wiesner – keyboards, effects (studio) (1989–2002)

Discography[link]

• Battalions of Fear (1988)
• Follow the Blind (1989)
• Tales from the Twilight World (1990)
• Somewhere Far Beyond (1992)
• Imaginations from the Other Side (1995)
• Nightfall in Middle-Earth (1998)
• A Night at the Opera (2002)
• A Twist in the Myth (2006)
• At the Edge of Time (2010)

References[link]

Blind Guardian-Battlefield is the theme song for Robot Unicorn Attack heavy metal version

External links[link]

Wikimedia Commons has media related to: Blind Guardian

Wikiquote has a collection of quotations related to: Blind Guardian

• Official website
• Blind Guardian on Myspace
• Blind Guardian discography at MusicBrainz
• Hansi Kurskch Interview With Metal Rules

Song In (in hangul 송인, in hanja 宋仁) was a civil official in the mid-Goryeo era who became the intermediary founder of the Jincheon Song clan. His highest post was munha pyeongjangsa (문하 평장사). This was the highest government position in the period. Song In was responsible for administration, judicial affairs and economy in the district.^[1]

As he performed meritorious deeds during the King, he was conferred with Chanhwagongsin and Jincheonbaek. Baek was a position of politicians who were responsible for administration, judicial affairs and economy in the district. As the government created him Jincheonbaek, his family started regarding Jincheon as their origin. Hence, the family origin became Jincheon Song.

When he was in the position of Sangsanbaek, he tried to be just and fair in all the administrative affairs and strived to enhance the welfare of his people. He also focused on education for the youth and courtesy for people, which made his district famous for most excellent behaviors in the nation. After that, the people have long paid tribute to his feats.

During the insurrection of Yi Jagyeom in the 4th year of King Injong of Goryeo's reign in 1126, he was killed by a rebellious band led by Cheok Jun-gyeong while escorting the king. After the rebels were put down, Song In was posthumously named 'meritous subject' and titled Lord Sangsanbaek (상산백).

Song In was born in Durujinmaeul (village), Duchon-ri, Deoksan-myeon in 1125 during the reign of King Injong of the Goryeo Dynasty. He was promoted to Pyeonjangsa, which was the highest government position in the period.

Tomb of Song In[link]

Chungcheongbuk-do Monument No. 91 Location: Duchon-ri, Deoksan-myeon, Jincheon-gun

This is the tomb of Song In (?-1126). It has a rectangular-shaped protective wall surrounding the tomb, typical of the Goryeo style. There are two tombstones erected in the late Joseon Dynasty period.

In the grave area, there are many tombs that belong to the clan. In front of his tomb stands the jaesil (chamber for memorial rites) with the tablet reading 'Sangsanjae'.

His grave is in Duchon-ri, Deoksan-myeon, which had been called Duruji, Sanjeong-myeon. The beautiful peak behind his grave is called Mountain Bibong which was named after Bongsae (bird) that is said to live in heaven and to fly down to sit on the summit. However, after the statue was inscribed of In Gong, the founder of Jincheon Song, the peak was compared to a slowly dropped ume flower. Thus, Mountain Bibong was called Maesanbibong, in which 'Mae' was named after an ume flower instead of a bird.

As he was a meritorious subject and served as a Pyeongjangsa (higher government official), the government ordered his grave mound to be surrounded by stones and a monument. The grave is one of the oldest ones in Jincheon and is recorded in Seokchong (stone tomb) in Hwanyeoseungram.

Thousands of descendents of Jincheon Song are living across the nation. Song Guk-cheom and Song Eon-gi who were devoted to fight against the Mongolian invasion into Goryeo are also the offspring of Jincheonbaek.

See also[link]

• Song (Korean name)
• Bon-gwan

References[link]

External links[link]

• Photo of the tomb
• Song In
• Monument 91, Tomb of Song In
• Jincheon Song bon-gwan information (Korean)
• Jincheon Song bon-gwan website (Korean)
• http://www.jincheon.go.kr/english/sub04/sub0404_01.jsp

This Korean biographical article is a stub. You can help Wikipedia by expanding it. v t e

This Korean history-related article is a stub. You can help Wikipedia by expanding it. v t e