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1 (one;  /ˈwʌn/ or UK /ˈwɒn/) is a number, a numeral, and the name of the glyph representing that number. It represents a single entity, the unit of counting or measurement. For example, a line segment of "unit length" is a line segment of length 1.

As a number[link]

One, sometimes referred to as unity, is the integer before two and after zero. One is the first non-zero number in the natural numbers as well as the first odd number in the natural numbers.

Any number multiplied by one is the number, as one is the identity for multiplication. As a result, one is its own factorial, its own square, its own cube, and so on. One is also the empty product, as any number multiplied by one is itself, which produces the same result as multiplying by no numbers at all.

As a digit[link]

The glyph used today in the Western world to represent the number 1, a vertical line, often with a serif at the top and sometimes a short horizontal line at the bottom, traces its roots back to the Indians, who wrote 1 as a horizontal line, much like the Chinese character 一. The Gupta wrote it as a curved line, and the Nagari sometimes added a small circle on the left (rotated a quarter turn to the right, this 9-look-alike became the present day numeral 1 in the Gujarati and Punjabi scripts). The Nepali also rotated it to the right but kept the circle small.^[1] This eventually became the top serif in the modern numeral, but the occasional short horizontal line at the bottom probably originates from similarity with the Roman numeral Failed to parse (Missing texvc executable; please see math/README to configure.): \mathrm{I} . In some European countries (e.g., Germany), the little serif at the top is sometimes extended into a long upstroke, sometimes as long as the vertical line, which can lead to confusion with the glyph for seven in other countries. Where the 1 is written with a long upstroke, the number 7 has a horizontal stroke through the vertical line.

While the shape of the 1 character has an ascender in most modern typefaces, in typefaces with text figures, the character usually is of x-height, as, for example, in .

The 24-hour tower clock in Venice, using J as a symbol for 1

Many older typewriters do not have a separate symbol for 1 and use the lowercase l instead. It is possible to find cases when the uppercase J is used, while it may be for decorative purposes.

Mathematics[link]

Mathematically, 1 is

• in arithmetic (algebra) and calculus, the natural number that follows 0 and precedes 2 and the multiplicative identity of the integers, real numbers and complex numbers;
• more generally, in abstract algebra, the multiplicative identity ("unity"), usually of a ring.

One cannot be used as the base of a positional numeral system; sometimes tallying is referred to as "base 1", since only one mark (the tally) is needed, but this is not a positional notation.

The logarithms base 1 are undefined, since the function 1^x always equals 1 and so has no unique inverse.

In the real-number system, 1 can be represented in two ways as a recurring decimal: as 1.000... and as 0.999... (q.v.).

Formalizations of the natural numbers have their own representations of 1:

• in the Peano axioms, 1 is the successor of 0;
• in Principia Mathematica, 1 is defined as the set of all singletons (sets with one element);
• in the Von Neumann cardinal assignment of natural numbers, 1 is defined as the set {0}.

In a multiplicative group or monoid, the identity element is sometimes denoted 1, especially in abelian groups, but e (from the German Einheit, "unity") is more traditional. However, 1 is especially common for the multiplicative identity of a ring, i.e., when an addition and 0 are also present. When such a ring has characteristic n not equal to 0, the element called 1 has the property that n1 = 1n = 0 (where this 0 is the additive identity of the ring). Important examples are general fields.

One is the first figurate number of every kind, such as triangular number, pentagonal number and centered hexagonal number, to name just a few.

In many mathematical and engineering equations, numeric values are typically normalized to fall within the unit interval from 0 to 1, where 1 usually represents the maximum possible value in the range of parameters.

Because of the multiplicative identity, if f(x) is a multiplicative function, then f(1) must equal 1.

It is also the first and second numbers in the Fibonacci sequence and is the first number in many other mathematical sequences. As a matter of convention, Sloane's early Handbook of Integer Sequences added an initial 1 to any sequence that did not already have it and considered these initial 1's in its lexicographic ordering. Sloane's later Encyclopedia of Integer Sequences and its Web counterpart, the On-Line Encyclopedia of Integer Sequences, ignore initial ones in their lexicographic ordering of sequences, because such initial ones often correspond to trivial cases.

One is neither a prime number nor a composite number, but a unit, like -1 and, in the Gaussian integers, i and -i. The fundamental theorem of arithmetic guarantees unique factorization over the integers only up to units (e.g., 4 = 2² = (-1)⁶×1²³×2²).

The definition of a field requires that 1 must not be equal to 0. Thus, there are no fields of characteristic 1. Nevertheless, abstract algebra can consider the field with one element, which is not a singleton and is not a set at all.

One is the only positive integer divisible by exactly one positive integer (whereas prime numbers are divisible by exactly two positive integers, composite numbers are divisible by more than two positive integers, and zero is divisible by all positive integers). One was formerly considered prime by some mathematicians, using the definition that a prime is divisible only by one and itself. However, this complicates the fundamental theorem of arithmetic, so modern definitions exclude units.

One is one of three possible values of the Möbius function: it takes the value one for square-free integers with an even number of distinct prime factors.

One is the only odd number in the range of Euler's totient function φ(x), in the cases x = 1 and x = 2.

One is the only 1-perfect number (see multiply perfect number).

By definition, 1 is the magnitude or absolute value of a unit vector and a unit matrix (more usually called an identity matrix). Note that the term unit matrix is sometimes used to mean something quite different.

By definition, 1 is the probability of an event that is almost certain to occur.

One is the most common leading digit in many sets of data, a consequence of Benford's law.

The ancient Egyptians represented all fractions (with the exception of 2/3 and 3/4) in terms of sums of fractions with numerator 1 and distinct denominators. For example, Failed to parse (Missing texvc executable; please see math/README to configure.): \frac{2}{5} = \frac{1}{3} + \frac{1}{15} . Such representations are popularly known as Egyptian Fractions or Unit Fractions.

The Generating Function that has all coefficients 1 is given by

Failed to parse (Missing texvc executable; please see math/README to configure.): \frac{1}{1-x} = 1 + x + x^2 + x^3 + \cdots .

This power series converges and has finite value if and only if, Failed to parse (Missing texvc executable; please see math/README to configure.): | x | < 1 .

Table of basic calculations[link]

In technology[link]

• The resin identification code used in recycling to identify polyethylene terephthalate
• Used in binary code along with 0

In science[link]

• The atomic number of hydrogen

In philosophy[link]

In the philosophy of Plotinus and a number of other neoplatonists, The One is the ultimate reality and source of all existence.

In fiction[link]

• The characters Thomas the Tank Engine, Skarloey and Godred from The Railway Series and Thomas and Friends have this number.
• Numbuh 1, a character from Codename: Kids Next Door.
• The character Francesco Bernoulli from Cars 2 is numbered 1.
• Mr. One from One Piece.
• The General Lee from The Dukes of Hazzard is numbered 01.
• Jean-Luc Picard, Captain of the Enterprise-D in Star Trek: The Next Generation, refers to his second-in-command, Will Riker as Number One.

In sports[link]

• 1 is the lowest number permitted for use by players of the National Hockey League (NHL), as the league has banned 00 and 0. (The highest number permitted is 98.)
• Many sports use 1 as their standard scoring increment—examples include goals in a large number of sports, runs in baseball and cricket, and points in volleyball. Examples where 1 is a non-standard increment, or used for one of several possible classes of scores, are listed below by sport.
• In Australian rules football, 1 point is awarded to the attacking team for a behind, scored when:
  • The ball is kicked by the attacking team and passes between a goal post (taller post) and the nearest behind post (shorter post) on the defensive side of the field without touching the behind post.
  • The ball passes between the defending team's goal posts, but either (1) was not kicked by the attacking team or (2) hit a goal post.
  • The defending team deliberately forces the ball between any two of its own posts. This particular score is officially called a "rushed behind".
• In baseball scoring, the number 1 is assigned to the pitcher.
• In basketball:
  • 1 point is awarded for a successful free throw.
  • The number 1 is used to designate the point guard position.
• In football (soccer):
  • 1 point is awarded for a successful goal
  • The number 1 is occasionally given to the goalkeeper
• In Gaelic football, hurling and camogie, a "point", with a scoring value of 1, is awarded when the attacking team legally sends the ball over the opponent's crossbar (above the goal).
• In gridiron football codes, one point is awarded under the following circumstances:
  • In almost all leagues, for a successful place kick after a touchdown. In American football, the score is formally known as a "try", although the terms "extra point", "conversion", "PAT" (for "point after touchdown"), and "point after" are far more commonly used. In Canadian football, the score is formally and popularly called a "convert". Conversions can also be scored by the now-rare drop kick; in standard American and Canadian football, such a conversion is worth 1 point, while most forms of indoor football, including the Arena Football League, award 2 points for a drop-kicked conversion.
  • In six-man football, one point is awarded for a successful conversion from scrimmage after a touchdown. Note that in standard 11-man (American) or 12-man (Canadian) football, place kicks are worth 1 point and conversions from scrimmage worth 2; this is reversed in six-man because the reduced number of players makes kicked conversions much more difficult.
  • In Canadian football only, a single or "rouge" is awarded when the ball is legally kicked into the opponent's end zone (except for a successful field goal), and the receiving team does not return, or kick, the ball out of its end zone. (In American football, the same play would result in a touchback and no points.)
  • Some forms of indoor football in the U.S. award a "single", similar to the Canadian score, on kickoffs only.
• In rugby league:
  • A drop goal is worth 1 point.
  • In most competitions (though not the European Super League, which uses static squad numbering), the starting fullback wears jersey number 1.
• In rugby union:
  • The starting loosehead prop wears the jersey number 1.
  • In the early years of the sport (prior to 1890), conversions, penalties, drop goals, and goals from mark were all worth 1 point. At that time, a try was worth no points, only giving the attacking team the right to attempt a conversion. In 1890–91, tries were rewarded with 1 point, while all other scores were increased in value. After that time, all scores have been worth at least 2 points (the goal from mark was abolished in 1977).
• The jersey number 1 has been retired by several North American sports teams in honor of past playing greats or other key figures (or, in one case, a team's fans):
  • In Major League Baseball:
    • The Boston Red Sox, for Hall of Famer Bobby Doerr.
    • The Cincinnati Reds, for manager Fred Hutchinson.
    • The Los Angeles Dodgers, for Hall of Famer Pee Wee Reese.
    • The New York Yankees, for Billy Martin, who both played for and managed the team.
    • The Philadelphia Phillies, for Hall of Famer Richie Ashburn.
    • The Pittsburgh Pirates, for manager Billy Meyer.
    • The St. Louis Cardinals, for Hall of Famer Ozzie Smith.
  • In the NBA:
    • The Boston Celtics, for founding owner Walter Brown, a member of the Hall of Fame as a contributor.
    • The Milwaukee Bucks, for Hall of Fame player Oscar Robertson.
    • The Portland Trail Blazers, for founding owner Larry Weinberg. Unlike most numbers so honored, this number remains in circulation for players.
    • The Sacramento Kings, for Hall of Fame player Nate Archibald, honoring the number's retirement when the team was known as the Kansas City Kings.
    • The Seattle SuperSonics, for Gus Williams. The team has since relocated to become the Oklahoma City Thunder, but the Thunder have yet to issue any number retired by the franchise in Seattle.
    • The Utah Jazz, for Frank Layden, who served the team first as head coach and then as president.
  • In the NFL:
    • The New York Giants, for Hall of Famer Ray Flaherty.
    • The Tennessee Titans, for Hall of Famer Warren Moon, who played for the team in its past incarnation as the Houston Oilers.
  • In the NHL:
    • The Chicago Blackhawks, for Hall of Famer Glenn Hall.
    • The Detroit Red Wings, for Hall of Famer Terry Sawchuk.
    • The Montreal Canadiens, for Hall of Famer Jacques Plante.
    • The New York Rangers, for Hall of Famer Eddie Giacomin.
    • The Minnesota Wild, for their fans.
    • The Philadelphia Flyers, for Hall of Famer Bernie Parent.
    • The Toronto Maple Leafs have a policy of not retiring numbers unless the player honoured either died or suffered a career-ending incident while a member of the team. Other players whose numbers would otherwise be retired instead have their numbers enshrined by the team as "Honoured Numbers", which remain in circulation for future players. The number 1 is currently honoured for Hall of Famers Johnny Bower and Turk Broda.

See also[link]

Mathematics portal

• −1
• One (word)
• Root of unity

Notes[link]

Wikimedia Commons has media related to: 1 (number) (category)

Look up one in Wiktionary, the free dictionary.

vep:1 (lugu)

Martha Argerich at the age of 21 in 1962

Martha Argerich (born June 5, 1941 in Buenos Aires, Argentina) is an Argentine pianist.

Early life[link]

Argerich was born in Buenos Aires and started playing the piano at age three (the provenance of the name Argerich is uncertain: some say it is Catalan, while others maintain it originates from Croatia).^[1] At the age of five, she moved to teacher Vincenzo Scaramuzza who stressed to her the importance of lyricism and feeling. Argerich gave her debut concert in 1949 at the age of eight. The family moved to Europe in 1955 where Argerich studied with Friedrich Gulda in Austria. Juan Perón, then the president of Argentina, made their decision possible by appointing her parents to diplomatic posts in the Argentine Embassy in Vienna. She later studied with Stefan Askenase and Maria Curcio.^[2] Argerich also seized opportunities for brief periods of coaching with Madeleine Lipatti (widow of Dinu Lipatti), Abbey Simon, and Nikita Magaloff.^[3] In 1957, at sixteen, she won both the Geneva International Music Competition and the Ferruccio Busoni International Competition, within three weeks of each other. It was at the latter that she met Arturo Benedetti Michelangeli whom she would later seek out for lessons during a personal artistic crisis at the age of twenty, though she only had four lessons with him in a year and a half.^[4] Her greatest influence was Gulda, with whom she studied for 18 months.

Professional career[link]

Argerich rose to international prominence when she won the seventh International Chopin Piano Competition in Warsaw in 1965, at age 24. In 1965, she debuted in the United States in the Lincoln Center's Great Performers Series. In the same year, she also made her first recording, including works by Chopin, Brahms, Ravel, Prokofiev, and Liszt, which received critical acclaim. In 1965, she recorded Chopin's Scherzo No. 3, Polonaise, Op. 53, and other short works in the later years.

Argerich has often remarked in interviews of feeling "lonely" on stage during solo performances.^[5] Since the 1980s, she has staged few solo performances, instead focusing on concertos and, in particular, chamber music, and accompanying instrumentalists in sonatas. She is noted especially for her recordings of 20th century works by composers such as Rachmaninoff, Messiaen and Prokofiev. One notable compilation pairs Rachmaninoff's Piano Concerto No. 3 (recorded in December 1982 with the Radio Symphonie-Orchester Berlin under direction of Riccardo Chailly) with Tchaikovsky's Piano Concerto No. 1 (February 1980, Symphonie Orchester Des Bayerischen Rundfunks, Kirill Kondrashin).

Argerich is also famous for her interpretation of Prokofiev's Piano Concerto No. 3, Ravel's Piano Concerto in G, and Bach's Partita No. 2 in C minor, which she has recorded several times and continues to perform.

Argerich has also promoted younger pianists, both through her annual festival and through her frequent appearances as a member of the jury at important competitions.^{[citation needed]} The pianist Ivo Pogorelić was thrust into the musical spotlight partly as a result of Argerich's actions: after he was eliminated in the third round of the 1980 International Frederic Chopin Piano Competition in Warsaw, Argerich proclaimed him a "genius" and left the jury in protest.^[6] She has supported several artists including Gabriela Montero, Mauricio Vallina, Sergio Tiempo, Gabriele Baldocci and others.^[7][8]

Argerich is president of the International Piano Academy Lake Como and performs each year at the Lugano Festival, Switzerland. She also created and has been General Director of the Argerich Music Festival and Encounter in Beppu, Japan, since 1996.

Her aversion to the press and publicity has resulted in her remaining out of the limelight for most of her career. Nevertheless she is widely recognized as one of the greatest pianists of her time.^[9]

Personal life[link]

Argerich has been married three times. Her first marriage was to composer-conductor Robert Chen, with whom she had a daughter, Lyda Chen, who is a violist. From 1969 to 1973, Argerich was married to conductor Charles Dutoit, with whom she had a daughter, Annie Dutoit. Argerich continues to record and perform with Dutoit. Her third husband was pianist Stephen Kovacevich, with whom she had a daughter, Stephanie.^[10]

In 1990, Argerich was diagnosed with malignant melanoma. After treatment, the cancer went into remission, but there was a reoccurrence in 1995, eventually metastasizing to her lungs and lymph nodes. Following aggressive treatment at the John Wayne Cancer Institute, which included the removal of part of her lung and use of an experimental vaccine, Argerich's cancer went into remission again. In gratitude, Argerich performed a Carnegie Hall recital benefiting the Institute.^[11] As of 2012^[update], Argerich remains cancer-free.^{[citation needed]}

Awards[link]

• The Order of the Rising Sun, Gold Rays with Rosette 2005 Japan
• Praemium Imperiale 2005 Japan
• Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra):
  • Claudio Abbado (conductor), Martha Argerich and the Mahler Chamber Orchestra for Beethoven: Piano Concertos Nos. 2 & 3 (2006)
• Grammy Award for Best Chamber Music Performance:
  • Martha Argerich and Mikhail Pletnev for Prokofiev (Arr. Pletnev): Cinderella Suite for Two Pianos/Ravel: Ma Mere L'Oye (2005)
• Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)
  • Charles Dutoit (conductor), Martha Argerich and the Montreal Symphony Orchestra for Prokofiev: Piano Concertos Nos. 1 and 3/Bartók: Piano Concerto No. 3 (2000)
• Claudio Arrau Memorial Medal (1997)
• International Frederick Chopin Piano Competition: 1st prize (1965)
• Ferruccio Busoni International Piano Competition: 1st prize (1957) ^[12]
• Geneva International Music Competition: 1st prize (1957)
• Voted into Gramophone's Hall of Fame in 2012.^[13]

See also[link]

Piano portal

• Great Pianists of the 20th Century - Martha Argerich
• Great Pianists of the 20th Century - Martha Argerich II
• List of Argentines

References[link]

External links[link]

• "Argerich--Discography," (August 11, 1999)
• Ross, Alex; 'Madame X', November 12, 2001, a profile of Argerich in The New Yorker
• Martha Argerich, evening talks, the award-winning documentary film about Argerich by Georges Gachot - (imdb link)
• Orga, Ates, River Plate Queen (1978, 2006), an interview with Argerich first published in the 1979 International Music Guide
• MUSIC FESTIVAL Argerich's Meeting Point in Beppu, a music festival sponsored by the Argerich Arts Foundation of Beppu, Japan
• The Martha Argerich Project
• Argerich Music news, concert schedule, articles, recordings
• Argerich's repertoire through the years
• Martha Argerich biography, CD and concert review by cosmopolis.ch
• Martha Argerich Project Brings Talent to Lugano by Euro News, June 15, 2009

Charles Dutoit
Background information
Birth name	Charles Édouard Dutoit
Born	(1936-10-07) 7 October 1936 (age 75) Lausanne, Switzerland
Genres	Classical
Occupations	Conductor, pedagogue
Associated acts	Gothenburg Symphony Montreal Symphony NHK Symphony Orchestre National de France Philadelphia Orchestra Tonhalle-Orchester Zürich Royal Philharmonic Orchestra

Charles Édouard Dutoit, (French pronunciation: [ʃaʁl e.dwaːʁ dy.twa]) OC GOQ (born 7 October 1936) is a Swiss conductor, particularly noted for his interpretations of French and Russian 20th century music. He has made influential modern recordings of Hector Berlioz's Roméo et Juliette and Maurice Ravel's ballets Daphnis et Chloé and Ma mère l'oye. He currently serves as the Principal Conductor and Artistic Director of London's Royal Philharmonic Orchestra.

Biography[link]

Dutoit was born in Lausanne, Switzerland, studied there and graduated from the Geneva Conservatory where he won first prize in conducting, then he went to the Music Academy in Siena by the invitation of Alceo Galliera. In his younger days, he frequently attended Ernest Ansermet's rehearsals and had a personal acquaintance with him. He also worked with Herbert von Karajan at Lucerne as a member of the festival youth orchestra and studied with Charles Munch at Tanglewood. Dutoit began his professional music career in 1957 as a viola player with various orchestras across Europe and South America. In January 1959, he made his debut as a professional conductor with an orchestra of Radio Lausanne and Martha Argerich. From 1959 he was a guest conductor of the Orchestre de la Suisse Romande and the Lausanne Chamber Orchestra. After this, he was the conductor for Radio Zurich until 1967, when he took over the Bern Symphony Orchestra from Paul Kletzki, where he stayed for eleven years.

While head of the Bern Symphony, he also conducted the National Symphony Orchestra of Mexico from 1973 to 1975, and Sweden's Gothenburg Symphony from 1975 to 1978. Dutoit was principal guest conductor of the Minnesota Orchestra in the early 1980s.

In 1977, Dutoit became the Artistic Director of the Orchestre Symphonique de Montréal (OSM). During his tenure, the recording profile and reputation of the OSM increased.^[1][2] He has earned more than 40 international awards and distinctions, including two Grammy Awards (USA), several Juno Awards (Canada), the Grand Prix du Président de la République (France), the Prix mondial du disque de Montreux (Switzerland), the Amsterdam Edison Award, the Japan Record Academy Award, and the German Music Critics' Award. He and the OSM made many recordings for the Decca/London label.

Although a pre-eminent cultural figure in a city proud of its Old World pedigree, Dutoit was impopular among his own musicians in Montreal for his harsh management style, apparently using fear and insults as motivation, to the point where some members broke down in tears after rehearsals. By April 2002 dissonance was festering, and after initiating dismissal procedures against two musicians who had stood up to him some players called in the Québec Musicians Guild. The union went public; its president saying that Dutoit had harassed his musicians for at least 10 years, treating them with derision and condescension. Upon hearing this Dutoit abruptly resigned, never to conduct in Montreal again.^[3]

1984

Dutoit first conducted the Philadelphia Orchestra in 1980. From 1990 to 1999, he was music director of the orchestra's summer concerts at the Mann Center for the Performing Arts. Since 1990, he has been the artistic director and principal conductor of the Philadelphia Orchestra's summer festival in Saratoga Springs, New York, a post he will relinquish in August 2010. In 1991, he was made an Honorary Citizen of the city of Philadelphia.

Since 1990, Dutoit has directed the Pacific Music Festival in Japan. From 1991 to 2001, Dutoit was Music Director of the Orchestre National de France, with whom he made a number of critically lauded recordings and toured extensively. In 1996, he was appointed principal conductor of Tokyo's NHK Symphony Orchestra. In 1997, he was made an Officer of the Order of Canada. He is also one of a handful of non-Canadian citizens to be a Grand Officer of the Ordre national du Québec.

In February 2007, he was named chief conductor and artistic adviser of The Philadelphia Orchestra, for a contract of four years, effective September 2008.^[4] In April 2007, Dutoit was named principal conductor and artistic director of the Royal Philharmonic Orchestra as of 2009.^[5] Since July 2009 Dutoit has also served as the music director of the Verbier Festival Orchestra in Switzerland.^[6]

Personal life[link]

Dutoit shuns publicity and protects his private life from the media. He has been married four times, including a marriage to the world-renowned concert pianist Martha Argerich, to the economist Marie-Josée Drouin, and to Canadian violinist Chantal Juillet.^[7] His first marriage was to Ruth Cury, by whom he has a son, Ivan, who lives in Santa Monica, California with his family. He also has a daughter, Anne-Catherine, by his marriage to Argerich.

References[link]

External links[link]

• Charles Dutoit at Allmusic
• Charles Dutoit biography at EMI Classics
• Charles Dutoit interview by Bruce Duffie
• Journal d'une création – Film directed by James Dormeyer with Chantal Juillet, Charles Dutoit and André Prévost

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (November 2012)

Alex Len (born June 16, 1993) is a Ukrainian basketball center that plays on the NCAA's Maryland Terrapins of the Atlantic Coast Conference.

Early life and Ukraine national team[link]

Len was born in Antratsit, Ukraine, where he grew up as a gymnast because he liked Jackie Chan movies. He started playing basketball at the age of 10. He was a standout player on the Ukraine national team at the U-18 European championships in 2010.

University of Maryland[link]

He was the recipient of an athletic scholarship from the University of Maryland coach Gary Williams, but Williams resigned after the 2010-11 season, leading to Mark Turgeon to take his place. Len underachieved in his freshman year, averaging 6 PPG, 5.4 RPG, and 2.1 BPG, but showed lottery pick potential after serving a ten game suspension at the beginning of the year. In his sophomore season, he opened up the season on November 9, 2012 against the reigning champion Kentucky Wildcats at the brand new Barclays Center in Brooklyn, New York, led by ESPN's #1 player of the 2012 recruiting class, Nerlens Noel.^[1] Len overpowered Noel throughout the entire game, scoring 23 points with 12 rebounds and 4 blocks in a 72-69 loss, while holding Noel to 4 points, 9 rebounds, and 3 blocks. The game showed that Len could be a top 5 pick in the upcoming draft, and that Maryland could be a dangerous team in 2012-13.^{[citation needed]} On January 16, 2013, Len ended up scoring 10 points and grabbed 6 rebounds, including a game-winning shot with 0.9 seconds in the game, to get a 51-50 upset over #14 North Carolina State.

References[link]

External links[link]

• Nbadraft.net
• Umterps.com
• Espn.go.com
• 2010 FIBA U-18 profile

Janelle Monáe
Performing at Austin Music Hall in 2009
Background information
Birth name	Janelle Monáe Robinson
Born	(1985-12-01) December 1, 1985 (age 26)
Origin	Kansas City, Kansas US
Genres	Neo-soul, funk, art rock, dance-punk, experimental alternative rock
Occupations	musician
Years active	2003-present
Labels	Bad Boy Records,[1] Atlantic Records[2]
Website	http://www.jmonae.com/

Janelle Monáe (born Janelle Monáe Robinson; December 1, 1985) is an American R&B/soul musician signed to Bad Boy Records and Atlantic Records.

Monáe debuted with a conceptual EP, Metropolis: Suite I (The Chase). The EP failed to make much of a commercial impact, peaking at No. 115 on the Billboard charts in the United States.^[3]

In 2010, Janelle Monáe released her debut studio album, The ArchAndroid (Suites II and III), a concept album sequel to her first EP; it was released by Bad Boy Records. This album received acclaim from critics and gained a Grammy Nomination for Best Contemporary R&B Album. The song "Tightrope" was also nominated for "Best Urban/Alternative Performance"; this album was also more successful commercially officially reaching the No. 17 spot on the Billboard Charts.^[4][5]

In March 2012, "We Are Young", the song by the band Fun on which Monáe makes a guest appearance, reached No. 1 on the Billboard Hot 100 chart, her first appearance in the US Top 10.

Biography[link]

Early life and career[link]

Monáe was born Janelle Monáe Robinson in Kansas City, Kansas, where she spent her early life; Monáe has stated that the fictional character of Dorothy from the Wizard of Oz has been one of her musical influences. She has told reporters that she has dreamed of being a singer and a performer since she was very young.^[6] Monáe moved from Kansas City, Kansas to New York to study drama at the American Musical and Dramatic Academy.

She attended a Performing Arts School called Freedom Theatre, which is the oldest African-American theatre in Philadelphia. After moving to Atlanta, Georgia, where she met OutKast's Big Boi, Monáe founded the Wondaland Arts Society with like-minded young artists and made appearances on Idlewild, where she is featured on the songs "Call the Law" and "In Your Dreams". Big Boi told his friend Sean Combs about Monáe, whom he had not heard of before. Combs promptly visited her MySpace page, and according to Bad Boy Records' A&R Daniel 'Skid' Mitchell in an interview with HitQuarters, the label boss loved it straight away, "[He] loved her look, loved that you couldn’t see her body, loved the way she was dancing, and just loved the vibe. He felt like she has something that was different - something new and fresh."^[7] Monáe signed to Bad Boy in 2006. The label's chief role was in facilitating her exposure on a much broader scale rather than developing the artist and her music, because in the words of Mitchell, "She was already moving, she already had her records - she had a self-contained movement." Combs and Big Boi wanted to take their time and build her profile organically and allow the music to grow rather than put out "A hot single which everyone jumps on, and then they fade because it's just something of the moment."^[7]

[edit] 2007-10: Metropolis - The Chase Suite and The ArchAndroid (Suites II and III)

Monáe and her band performing at Sudoeste Festival 2011.

In 2007, Monáe released her first solo work, titled Metropolis. It was originally conceived as a concept album in four parts, or "suites", which were to be released through her website and mp3 download sites. After the release of the first part of the series, Metropolis: Suite I (The Chase) in mid-2007, these plans were altered following her signing with Sean "Diddy" Combs's label, Bad Boy Records, later in the year. The label gave an official and physical release to the first "suite" in August 2008, which was retitled Metropolis: The Chase Suite (Special Edition) and included two new tracks. The EP was generally well-received by critics, garnering Monáe a 2009 Grammy nomination in the Best Urban/Alternative Performance for her single "Many Moons",^[8] festival appearances and opening slots for the indie pop band Of Montreal. Monáe also toured as the opening act for band No Doubt on their summer 2009 tour.^[9] Her single "Open Happiness" was featured in the 2009 season finale of American Idol.^[10] Monáe told MTV about her concept for her new album and also discussed her alter-ego named Cindi Mayweather, she said:

"Cindi is an android and I love speaking about the android because they are the new “other”. People are afraid of the other and I believe we’re going to live in a world with androids because of technology and the way it advances. The first album she was running because she had fallen in love with a human and she was being disassembled for that."^[11]

In a November 2009 interview, Monáe revealed the title and concept behind her album, The ArchAndroid. The album was released on May 18, 2010. The second and third suites of Metropolis are combined into this full-length release, in which Monáe's alter-ego, Cindi Mayweather—also the protagonist of Metropolis: The Chase Suite— becomes a messianic figure to the android community of Metropolis.^[12] Monáe noted that she plans to shoot a video for each song on The ArchAndroid and create both a movie and graphic novel based on the album.^[13] The Metropolis concept series draws inspiration from a wide range of musical, cinematic and other sources, ranging from Alfred Hitchcock to Debussy to Philip K. Dick. However, the series puts Fritz Lang's 1927 silent film Metropolis, which Monáe referred to as "the godfather of science-fiction movies," in special regard.^[14][15] Aside from sharing a name, they also share visual styles (the cover for The ArchAndroid is inspired by the iconic poster for Metropolis), conceptual themes and political goals, using expressionistic future scenarios to examine and explode contemporary ideas of prejudice and class. Both also include a performing female android, though to very different effect. Where Metropolis android Maria is the evil, havoc-sowing double of the messianic figure to the city's strictly segregated working class, Monáe's messianic android muse Cindi Mayweather represents an interpretation of androids as that segregated minority, which Monáe describes as "... the Other. And I feel like all of us, whether in the majority or the minority, felt like the Other at some point."^[14][16]

Monáe received the Vanguard Award from the American Society of Composers, Authors and Publishers at the Rhythm & Soul Music Awards in 2010.^[17] Monáe covered Charlie Chaplin's Smile on Billboard.com in June 2010. In an NPR interview in September 2010, Monae stated that she is a believer in, and a proponent of time travel. Monáe performed "Tightrope" during the second elimination episode of the 11th Season of Dancing with the Stars on September 28, 2010.^[18] Monáe performed at the 53rd Annual Grammy Awards in 2011 alongside artists Bruno Mars and B.o.B; Monáe performed the synth section of B.o.B's song "Nothin' On You" and she then performed her track "Cold War" with B.o.B on the guitar and Mars on the drums. Her performance received a standing ovation.^[19]

Her single "Tightrope" was featured on the American Idols LIVE! Tour 2011, performed by Pia Toscano, Haley Reinhart, Naima Adedapo, and Thia Megia.

[edit] 2011-present: re-release of ArchAndroid, new album and other projects

Monáe tweeted that she is planning on releasing an instrumental version of The ArchAndroid.^[20] In an interview, Monáe stated that she plans to release two albums in 2012.^[21] In another interview with Forbes, Monáe also said that she plans to release an ArchAndroid inspired film.^[22] She will join the Red Hot Chili Peppers as a support act on part of their "I'm With You" tour.

Monàe was featured in Fun's hit single, "We Are Young", and also performed an acoustic version of the song with lead singer of Fun, Nate Ruess.

Artistry[link]

Musical styles and influences[link]

The Telegraph released their interview with Monáe talking about her first studio album where they said "I begin to worry for a moment that Monáe may not just be a humourless science-fiction nerd, but actually an android herself, created in a laboratory as a super-musical cross between James Brown, Judy Garland, Andre 3000 and Steve Jobs, invented to test the desperate incredulity of music journalists". They also compared Monáe to artists such as Annie Lennox and Lauryn Hill.^[23] Her musical styles have been described as "a soaring orchestral trip enlivened with blockbuster vocals, mysterious imagery and notes of Sixties pop and jazz".^[24] The Guardian have noted some of her influences as: Michael Jackson, Prince, OutKast, Erykah Badu, Beyonce, James Brown, Grace Jones, Stevie Wonder, David Bowie, Jimi Hendrix, Bernard Herrmann, Funkadelic and the Incredible String Band.^[25] Monáe has stated that she has an alter-ego named Cindi Mayweather who according to Monáe is from the year 2719.^[26] In her first EP she gave her alter-ego a back-story stating that she is on the run after breaking the law in her home town of Metropolis after falling in love with a human named Anthony Greendown. Monáe explained about Cindi, saying "The Archandroid, Cindi, is the mediator, between the mind and the hand. She's the mediator between the haves and the have-nots, the oppressed and the oppressor. She's like the Archangel in the Bible, and what Neo represents to the Matrix."^[27]

Public image[link]

Monáe has gained a signature clothing style of wearing a Tuxedo wardrobe and she said on the matter to Honey Magazine "I bathe in it, I swim in it, and I could be buried in it. A tux is such a standard uniform, it’s so classy and it’s a lifestyle I enjoy. The tux keeps me balanced. I look at myself as a canvas. I don’t want to cloud myself with too many colors or I’ll go crazy. It’s an experiment I’m doing. I think I want to be in the Guinness Book of World Records."^[28] In Monáe's concerts she has been noted to hand out her Ten Droid Commandments which encourages her fans to be individuals.^[27] The Telegraph also commented on her image as an artist saying "Sitting in a grey, airless record company office, this slight, stiff young woman delivers her speech in slow, deliberate tones, utterly expressionless. Dressed in her trademark starched shirt and tuxedo, hair immaculately coiffed, Monáe’s face is an opaque mask of perfection: all silken smooth skin, button nose and glassy brown eyes."^[23] She has described her Tuxedos as being a uniform for her career and she has stated that she wears them when she is working.^[27] She also featured in the "Style 100" of InStyle Magazine.^[29]

Discography[link]

Studio albums[link]

Extended plays[link]

Singles[link]

Featured singles[link]

Guest appearances[link]

• 2005: In "House" Sessions (My First Love)
• 2005: Broadcasting the Definition (Peachtree Blues)
• 2005: Purple Ribbon All-Stars - Got Purp? Vol 2 ("Time Will Reveal," "Lettin' Go")
• 2006: Outkast - Idlewild ("Call the Law," "In Your Dreams")
• 2008: "Big" Collaboration with Big Boi and the Atlanta Ballet^[41]
• 2009: Chester French- Jacques Jams, Vol. 1: Endurance (Mixtape) ("Nerd Girl")
• 2009: Open Happiness
• 2009: Stargate Universe - "Earth" Episode 7, Season 1
• 2010: B.o.B. - B.o.B Presents: The Adventures of Bobby Ray ("The Kids")
• 2010: Big Boi - Sir Lucious Left Foot: The Son of Chico Dusty ("Be Still")
• 2010: of Montreal - False Priest ("Our Riotous Defects," "Enemy Gene")
• 2010: Without a Fight - For Colored Girls: Music From and Inspired by the Original Motion Picture Soundtrack
• 2011: fun. - Some Nights ("We Are Young")
• 2011: ("Tightrope") (featuring Big Boi) - performance on Later With Jools Holland - BBC Television

Awards and nominations[link]

References[link]