Chantry is the English term for a fund established to pay for a priest to celebrate sung Masses for a specified purpose, generally for the soul of the deceased donor. Chantries were endowed with lands given by donors, the income from which maintained the chantry priest. A chantry chapel is a building on private land or a dedicated area within a greater church, set aside or built especially for and dedicated to the performance of the chantry duties by the priest. A chantry may have only an altar, rather than a chapel, within a larger church, generally dedicated to the donor's favourite saint. Many altars became richly endowed, often with gold furnishings and valuable vestments.

Mass for the dead[link]

The practice of saying Christian masses to benefit the soul of a deceased person is attested as early as the 8th century. The most common form was the anniversarium or missa annualis, a mass said annually on the date of the person's death. People believed that more numerous masses increased their efficacy. At the Council of Attigny (765), about 40 abbots and bishops agreed to say masses and recite the psalter for the souls of deceased members of their 'confraternity'. Ninth-century France and England had records of numerous confraternity agreements between monasteries or greater churches, by which each would offer prayers for the dead members of the other's communities. Before the year 1000 in Italy, France and England, great churches extended the benefits of such associations to lay folk. Kings and great magnates asked that prayers for their souls be said in the monasteries they founded on their estates.

Etymology[link]

The word derives, via Old French chanter, from the Latin cantare (to sing)^[1] and its mediaeval derivative, cantaria (meaning "licence to sing mass"). The French term for this commemorative institution is chapellenie (chaplaincy).^[2]

Origin of chantries[link]

Current theories (Colvin) locate the origins of the chantry in the rapid expansion of regular monasteries in the 11th century. The abbey of Cluny and its hundreds of daughter houses were central to this. The Cluniac order emphasised an elaborate liturgy as the centre of its common life. It developed an unrivalled liturgy for the dead and offered its benefits to its patrons. By the 1150s, the order had so many demands for multiple masses for the dead that Peter the Venerable placed a moratorium on further endowments. Other monastic orders also benefitted from this movement, but similarly became burdened by commemoration. The history of the Cistercian house of Bordesley (Worcestershire), a royal abbey, demonstrates this. In the mid-12th century, it offered the services of two priest monks, presumably to say mass, for the soul of Robert de Stafford. Between 1162 and 1173, it offered the services of an additional six monks for the souls of Earl Hugh of Chester and his family. This sort of dedication of prayers towards particular individuals was a step towards the institutional chantry.

Another theory (Crouch) points to the parallel development of communities or colleges of secular priests or canons as an influence on the evolution of the chantry. Such communities were not monastic foundations, although members shared a common life. Like the monasteries, they offered dedicated prayers for the dead. An example is the collegiate church of Marwell (Hampshire), founded by Bishop Henry of Winchester in the early 1160s. The priests of the college were to pray for the souls of the bishops of Winchester and kings of England. Gradually perpetual masses for the dead were delegated to one altar and one secular priest within a greater church.

Henry II of England and the chantry[link]

The family of King Henry II of England contributed greatly to religious patronage. Henry founded at least one daily mass for his soul in the endowment of the estate of Lingoed (Gwent) of Dore Abbey (Herefordshire); he endowed the services in perpetuity of four monk-priests. In 1183 the king lost his eldest son, Henry the Young King of England. In 1185 his third son, Geoffrey, Duke of Brittany, died in a tournament near Paris. Henry II commemorated his sons by founding what resembled the classic institutional chantry. He endowed altars and priests at Rouen Cathedral in perpetuity for the soul of the Young Henry. Philip II of France endowed priests at the cathedral of Notre Dame in Paris for the soul of Duke Geoffrey. John count of Mortain, the youngest son of Henry II, also created chantry-like foundations. In 1192 he granted the collegiate church of Bakewell (Derbyshire) to create a prebend at Lichfield Cathedral. The holder was to celebrate mass perpetually for John's soul. The concept of the institutional chantry thus developed in the 1180s within English and French royal circles, who were wealthy enough to endow them.

Beyond them, the first perpetual mass was endowed by the London sheriff and patrician, Richard fitz Reiner, at the chapel of his manor of Broad Colney (Hertfordshire). He established it by the terms of his last testament in 1191, and the chantry was completed in 1212. In close association with the Angevin court, Richard may have adopted its religious practice.

Chantry provision in later Medieval England[link]

Analysis of later medieval wills has shown that the chantry appeared in many forms. A perpetual chantry might consist of one or several priests, in an independent free-standing chapel (such as the surviving one at Noseley, Leicestershire) or in an aisle of a greater church. If chantries were in religious communities, they were sometimes headed by a warden or archpriest. Such chantries generally had constitutions directing the terms by which priests might be appointed and how they were to be supervised. The perpetual chantry was the most prestigious and expensive option for the wealthy burgess or aristocrat. A lesser option was the endowment of a fixed-term chantry, to fund masses by one or two priests at a side altar. Historians have found terms ranging from one to ten years to be more common than the perpetual sort.

Abolition of Chantries Acts, 1545 and 1547[link]

William Wyggeston's chantry house, built circa 1511, in Leicester: the building housed two priests, who served at a chantry chapel in the nearby St Mary de Castro church. It was sold as a private dwelling after the dissolution of the chantries.

When Henry VIII initiated the Reformation in England, Parliament passed an Act in 1545 that defined chantries as representing misapplied funds and misappropriated lands. The Act stated that all chantries and their properties would belong to the King for as long as he should live. Along with the dispersal of the monasteries, the act was designed to help Henry relieve the monetary pressures of the war with France. Because Henry did not live long after the act's passage, few chantries were closed or given over to him. His successor, Edward VI, had a new Act issued in 1547, which completely suppressed 2,374 chantries and guild chapels; it also authorized inquiries to determine all of their possessions. Although the act called for the monies to go to "charitable" ends and the "public good," most of it appeared to have gone to Edward VI's advisors. The Crown sold many chantries to private citizens; for example, in 1548 Thomas Bell (Mayor of Gloucester) purchased at least five in his city. The Act provided that the Crown had to guarantee a pension to all chantry priests displaced under its implementation.

Historians believe that the most significant effect of the chantries, and the most significant loss resulting from their suppression, was educational. The priests associated with chantries had provided education to their communities. Since they were not ordinaries and did not offer public masses, they could serve their communities in other ways. When Edward VI closed the chantries, priests were displaced who had taught the poor and rural residents; afterward such citizens suffered greatly diminished access to education for their children. Some of the chantries were converted into the grammar schools now called "Edwardian".

Royal Peculiars were not covered by any of the above Acts of Parliament, so were not formally abolished. Most declined over time. The jurisdiction of almost all was abolished in the 19th century. Some royal peculiars survive, including Westminster Abbey and St George's Chapel, Windsor Castle.

References[link]

• D. Sicard, "La liturgie de la mort dans l'église latine des origines à la réforme carolingienne", in Liturgiewissenschaftliche Quellen und Forschungen, 63 (1978), 174-202
• C. Treffort, L'église carolingienne et la mort (Lyon, 1996)
• H.A. Colvin, "The Origins of the Chantry," Journal of Medieval History, 26 (2000), 163-73
• D. Crouch, "The Origins of the Chantry: Some Further Anglo-Norman Evidence," Journal of Medieval History, 27 (2001), 159-80
• K.L. Wood-Legh, Perpetual Chantries in Britain (Cambridge, 1965)
• C. Burgess, "By Quick and by Dead: Wills and Pious Provision in Late Medieval Bristol," English Historical Review 102 (1987), 837-58
• E. Duffy, The Stripping of the Altars (New Haven, 1993)
• N. Chantry, The House of Odsal
• Roffey, S. The Medieval Chantry Chapel: an archaeological approach, (Woodbridge: Boydell 2007)

External links[link]

• "London and Middlesex Chantry Certificate", certificate of the royal commissioners, in preparation for the dissolution; London Record Society; here hosted by British History Online.

Bruno Mars
Bruno Mars performing in Las Vegas, Nevada on September 19, 2010
Background information
Birth name	Peter Gene Hernandez
Born	(1985-10-08) October 8, 1985 (age 26)[1] Honolulu, Hawaii, U.S.
Genres	Reggae fusion, pop, soul, R&B
Occupations	Singer-songwriter, record producer, model, dancer
Instruments	Vocals, drums, guitar, keyboard, bass, piano, harmonica
Years active	2005–present
Labels	Atlantic, Elektra
Associated acts	The Smeezingtons
Website	www.brunomars.com

Peter Gene Hernandez (born October 8, 1985), better known by his stage name Bruno Mars, is an American singer-songwriter and record producer. Raised in Honolulu, Hawaii by a family of musicians, Mars began making music at a young age. He performed in various musical venues in his hometown throughout his childhood. He graduated from high school and then moved to Los Angeles, California to pursue a musical career. Mars produced songs for other artists, joining production team The Smeezingtons.

Mars had an unsuccessful stint with Motown Records, but then signed with Atlantic Records in 2009. He became recognized as a solo artist after lending his vocals and co-writing the hooks for the songs "Nothin' on You" by B.o.B, and "Billionaire" by Travie McCoy. He also co-wrote the hits "Right Round" by Flo Rida featuring Ke$ha, and "Wavin' Flag" by K'naan. In October 2010, he released his debut album, Doo-Wops & Hooligans. Anchored by the worldwide number-one singles "Just the Way You Are" and "Grenade", the album peaked at number three on the Billboard 200.^[2] Mars was nominated for seven Grammys at the 53rd Grammy Awards, winning Best Male Pop Vocal Performance for "Just the Way You Are".

Mars' music is noted for displaying a wide variety of styles and influences, and contains elements of many musical genres. He has worked with an assortment of artists from various genres. Mars acknowledges the influences that his collaborations have had on his own music. As a child, he was highly influenced by artists such as Little Richard,^[3] Elvis Presley and Michael Jackson and would often impersonate these artists from a young age. Mars also incorporates reggae and Motown inspired sounds into his work. Jon Caramanica of The New York Times referred to Mars as "one of the most versatile and accessible singers in pop."^[4] Worldwide, Mars became the best-selling digital artist in 2011. He had three singles in the top ten, including first place with "Just The Way You Are," which sold 12.5 million copies.^[5] Mars won Best International Male Solo Artist at the BRIT Awards in 2012.^[6] Bruno Mars has sold 5 million albums and 36 million singles worldwide.^[7]

Early life[link]

Bruno Mars was born Peter Gene Hernandez on October 8th, 1985, and raised in the Waikiki neighborhood of Honolulu, Hawaii, by parents Pete Hernandez, of Puerto Rican descent, and Bernadette "Bernie," a Filipina.^{[8][9][10][11]} His mother emigrated to Hawaii from the Philippines as a child and his father moved to the island from Brooklyn, New York.^[12] Mars' parents met while performing in a show, where his mother was a hula dancer and his father played percussion.^[12] At the age of two, he was nicknamed "Bruno" by his father, because of his resemblance to legendary professional wrestler Bruno Sammartino.^[13]

Mars was one of six children and came from a musical family who exposed him to a diverse mix of reggae, rock, hip hop, and R&B.^[14][15] In addition to being a dancer, his mother was a singer and his father used his musical ability to perform Little Richard rock n roll music.^[3] Mars' uncle was an Elvis impersonator. By the age of three his uncle had Mars up on the stage performing. He also performed songs by artists such as Michael Jackson, The Isley Brothers, and The Temptations.^[10] At age four, Mars began performing five days a week with his family's band, The Love Notes, in which he became known on the island for his impersonation of Presley.^[16]

In 1990, Mars was featured in MidWeek as "Little Elvis", going on to have a cameo in the film Honeymoon in Vegas in 1992.^[10][17] He later reflected on the influence Presley had on his music: "I watch the best. I'm a big fan of Elvis. I'm a big fan of 1950s Elvis when he would go on stage and scare people because he was a force and girls would go nuts! You can say the same thing for Prince or The Police. It's just guys who know that people are here to see a show, so I watch those guys and I love studying them because I'm a fan."^[18] In 2010, he also acknowledged his Hawaiian roots and musical family as an influence, explaining, "Growing up in Hawaii made me the man I am. I used to do a lot of shows in Hawaii with my father's band. Everybody in my family sings, everyone plays instruments...I've just been surrounded by it."^[19] In 2003, shortly after graduating from President Theodore Roosevelt High School at the age of seventeen, Mars moved to Los Angeles, California, to pursue a musical career.^[10][17] He adopted his stage name from the nickname his father gave him, adding "Mars" at the end because "I felt like I didn't have [any] pizzazz, and a lot of girls say I’m out of this world, so I was like I guess I'm from Mars."^[20]

Career[link]

[edit] 2004–10: Career beginnings and It's Better If You Don't Understand

Bruno Mars performing in Houston, Texas in November 2010.

Shortly after moving to Los Angeles, Mars signed to Motown Records in 2004, in a deal that "went nowhere".^[21] However, Mars' experience with Motown proved to be beneficial to his career when he met songwriter and producer Philip Lawrence, who was also signed to the label. Mars, Lawrence, and engineer Ari Levine began writing songs together, and formed the production team The Smeezingtons.^[21] In 2006, Lawrence introduced Mars to his future manager at Atlantic Records, Aaron Bay-Schuck.^[22] After hearing him play a couple of songs on the guitar, Bay-Schuck wanted to sign him immediately, but it took about three years for Atlantic records to finally sign Mars to the label.^[22] In the meantime, Bay-Schuck hired Mars and the Smeezingtons to write and produce songs for the label's artists.^[22] According to Bay-Schuck in an interview with HitQuarters, Mars had stated that although his ultimate goal was to be a solo artist, he was willing to write and produce for other artists, both to help improve his songwriting and help him discover the type of artist he ultimately wanted to be.^[22] Bay-Schuck credits this as a period of "self-discovery" that contributed significantly to Mars' later success.^[22]

Before becoming a successful solo artist, Hernandez was an acknowledged music producer, writing songs for Alexandra Burke, Travie McCoy, Adam Levine, Brandy, Sean Kingston, and Flo Rida.^[14][23] He also co-wrote the Sugababes' hit song "Get Sexy" and provided backing vocals on their album Sweet 7.^[24][25] His first musical appearance as a singer was in Far East Movement's second studio album Animal, featured on the track "3D".^[26] He was also featured on pastor and hip hop artist Jaeson Ma's debut single "Love" in August 2009.^[27][28] He reached prominence as a solo artist after being featured on and co-writing B.o.B's "Nothin' on You" and Travie McCoy's "Billionaire"; both songs peaked within the top ten of many charts worldwide.^{[29][30][31][32]} He said of them, "I think those songs weren't meant to be full-sung songs. If I'd sung all of "Nothin' on You", it might've sounded like some '90s R&B." Following this success, Mars released his debut extended play (EP), titled It's Better If You Don't Understand, on May 11, 2010.^[33] The EP peaked at the 99th position on the Billboard 200 and produced one single, "The Other Side", featuring singers Cee Lo Green and B.o.B.^[34][35] Mars collaborated with Green once more in August 2010 by co-writing his single "Fuck You!". He performed a medley of "Nothin' on You" and "Airplanes" with B.o.B and Hayley Williams at the 2010 MTV Video Music Awards on September 12, 2010.^[36]

[edit] 2010–present: Doo-Wops & Hooligans

Bruno Mars' debut album, Doo-Wops & Hooligans, was released digitally on October 4, and saw its physical release on October 5, 2010.^[37][38] The lead single, "Just the Way You Are", was released on July 19, 2010,^[39] and has reached the top of the Billboard Hot 100 as well as several other charts worldwide.^[40][41] The music video was released on September 8, 2010.^[42] The second single, "Grenade", was released September 28, 2010, and has also seen successful international chart performance.^[43][44] In the United States, Doo-Wops & Hooligans debuted at number three on the Billboard 200 for the week of October 13, 2010, selling 55,000 copies.^[2] The album also received generally positive reviews from critics. Entertainment Weekly's Leah Greenblatt praised Mars for his "instant-access melodies" and "sly snatches of dance-floor swagger", but noted weaknesses in songs deviant from his conventional pop and soul genres.^[45] He opened for Maroon 5 on the fall leg of the Hands All Over Tour starting October 6, 2010 and co-headlined with McCoy on a European tour starting October 18, 2010.^[38]

On September 19, 2010, Mars was arrested in Las Vegas for possession of cocaine.^[46] When talking to a police officer, Mars reportedly stated that what he did was "foolish" and that "he has never used drugs before".^[47][48] Mars pled guilty to felony drug possession, and in return for his plea, he was told that the charges would be erased from his criminal record as long as he stayed out of trouble for a year, paid a $2,000 fine, did 200 hours of community service and completed a drug counseling course.^[49]

On February 13, 2011, Mars won his first Grammy Award for Best Male Pop Vocal Performance, having received six nominations; Best Rap Song and Best Rap/Sung Collaboration for "Nothin' on You", Record of the Year for "Nothin' on You" and "Fuck You", Song of the Year for "Fuck You", and Producer of the Year, Non-Classical at the 53rd Grammy Awards.

On September 16, 2011, Bad Meets Evil released their single, "Lighters", which featured Mars in the song. The song was met with mixed reviews from critics and many criticized Mars for doing this type of song.^[50] On September 22, 2011, it was announced on Mars' website that his new song "It Will Rain" will appear on The Twilight Saga: Breaking Dawn – Part 1 Original Motion Picture Soundtrack which was released on November 8.^[51] On October 30, 2011, Mars gave an exclusive performance of "Runaway Baby" on the results show of The X Factor UK, the same day that Mars received six nominations for a Grammy Award; Album of the Year and Best Pop Vocal Album for Doo-Wops & Hooligans, Record of the Year, Song of the Year and Best Pop Solo Performance for "Grenade", and Producer of the Year, Non-Classical at the 54th Grammy Awards. During the ceremony, Mars performed "Runaway Baby" but he did not win any awards as Adele won in all the categories he was nominated in and also lost to Paul Epworth for Producer of the Year.

Mars has confirmed on Twitter that his work on his second album has begun.^[52] On March 22, 2012, it was announced that Mars had signed a worldwide publishing deal with BMG Chrysalis US.^[53]

Musical style[link]

Mars performing on November 24, 2010. Mars plays several instruments including piano, guitar, bass and congas.^[54]

Mars' music has been noted for displaying a wide variety of styles and influences, including pop,^[55] rock,^[55] reggae,^[55] R&B,^[56] soul,^[45] and hip hop.^[57] His co-producer Philip Lawrence says, "What people don't know is there's a darker underbelly to Bruno Mars." Mars himself says, "I blame that on me singing to girls back in high school."^[58] Jon Caramanica of The New York Times called him "one of the most versatile and accessible singers in pop, with a light, soul-influenced voice that’s an easy fit in a range of styles, a universal donor."^[4] Mars was initially influenced by R&B artists such as Keith Sweat, Jodeci and R. Kelly, as well as 1950s rock 'n' roll and Motown.^[59] In high school, he began listening to classic rock groups such as The Police, Led Zeppelin, and the Beatles.^[59] All of these genres of music have influenced Mars' musical style; he observed that "It’s not easy to [create] songs with that mixture of rock and soul and hip-hop, and there’s only a handful of them."^[59] Mars also stated that he is a fan of Alicia Keys, Jessie J, Jack White and The Saturdays.^[60]

In addition, Mars claims that his work with other artists influenced his musical style, saying that "'Nothin' on You' had a Motown vibe, 'Billionaire' was a reggae acoustic guitar-driven song, though one of my favorites is the Cee-Lo [Green] song ['Fuck You']. I don't think anyone else could've sung that song. And there's 'Just the Way You Are.' If you know my story, you know I love all different genres of music."^[61] He cites doo-wop as a major influence on his music, referring to the genre as "just straightforward love songs – so charming and simple and romantic."^[61] In addition, Mars states that growing up in Hawaii influenced his music, giving the songs a reggae sound. He explains that "In Hawaii some of the biggest radio stations are reggae. The local bands are heavily influenced by Bob Marley. That music brings people together. It's not urban music or pop music. It's just songs. That's what makes it cross over so well. The song comes first."^[12] Lyrically, many of Mars' songs have been described as "feel-good", carefree, and optimistic,^[62] however, darker subjects are addressed in songs such as "Grenade", "Liquor Store Blues", and "Talking to the Moon", which detail failed relationships and self-destructive behavior.^[45][63]

Discography[link]

• Doo-Wops & Hooligans (2010)
• TBA (2012)

Tours[link]

• Doo-Wops & Hooligans tour (2010–2011)

Awards and nominations[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Bruno Mars

• Official website
• Bruno Mars on Twitter
• Bruno Mars at the Internet Movie Database

Chantry (left) with Kim Thayil of Soundgarden, 2007

Arthur S.W. Chantry II (born April 9, 1954 in Seattle) is a graphic designer often associated with the posters and album covers he did for bands from the Pacific Northwest, such as Nirvana, Hole and The Sonics.^[1][2] He is also notable for his work in logo design.^[3][4] Chantry designed the cover for Some People Can't Surf, which was written by Julie Lasky.^[5]

Chantry advocates a low-tech approach to design that is informed by the history of the field. His work has been exhibited at the Rock and Roll Hall of Fame Museum of Modern Art, Seattle Art Museum, the Smithsonian and the Louvre.

Chantry received a bachelor's degree from Western Washington University in 1978.

References[link]

External links[link]

• Official page
• New York times review

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