Coronet of a count (Spanish Heraldry)

Royal, noble and chivalric ranks

Emperor & Empress consort Empress & Emperor consort

Empress dowager or Empress mother

King & Queen consort or Princess consort Queen & King consort or Prince consort

Queen dowager or Queen mother Princess dowager or Princess mother

Grand Duke & Grand Duchess Grand Prince & Grand Princess

Viceroy & Vicereine

Archduke & Archduchess Infante & Infanta

Duke & Duchess Prince & Princess

Marquess & Marchioness Marquis & Marquise Margrave & Margravine

Count & Countess Earl & Countess

Viscount & Viscountess

Baron & Baroness Freiherr & Freifrau

Baronet & Baronetess Hereditary Knight, Ritter

Knight & Dame

Nobile, Edler von

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A count (male) or countess (female) is an aristocratic nobleman in European countries. The word count came into English from the French comte, itself from Latin comes—in its accusative comitem—meaning "companion", and later "companion of the emperor, delegate of the emperor". The adjective form of the word is "comital". The British and Irish equivalent is an earl (whose wife is a "countess", for lack of an English term). Alternative names for the "Count" rank in the nobility structure are used in other countries, such as Graf in Germany, Graaf in the Netherlands and Hakushaku during the Japanese Imperial era.

Definition[link]

In the late Roman Empire, the Latin title comes meaning (imperial) "companion" denoted the high rank of various courtiers and provincial officials, either military or administrative: before Anthemius was made emperor in the West in 467, he was military comes charged with strengthening defenses on the Danube frontier.^[1]

In the Western Roman Empire Count came to generically indicate a military commander, but was not a specific rank. In the Eastern Roman Empire, from about the seventh century, a count was a specific rank indicating the commander of two centuries (i.e. 200 men).

Military counts in the Late Empire and the Germanic successor kingdoms were often appointed by a dux and later by a king. From the start the count was in charge, not of a roving warband, but settled in a locality, a countship, his main rival for power being the bishop, whose diocese was often coterminous.

In many Germanic and Frankish kingdoms in the early Middle Ages, the count might also be a count palatine, whose authority derived directly from the royal household, the "palace" in its original sense of the seat of power and administration. This other kind of count had vague antecedents in Late Antiquity too: the father of Cassiodorus held positions of trust with Theodoric, as comes rerum privatarum, in charge of the imperial lands, then of comes sacrarum largitionum (concerned with the strictly monetary fiscal matters of the realm).^[2]

The position of comes was originally not hereditary. By holding large estates, many counts were able to make it a hereditary title—though not always. For instance, in Piast Poland, the position of komes was not hereditary, resembling the early Merovingian institution. The title had disappeared by the era of the Polish-Lithuanian Commonwealth, and the office replaced with other institutions. Only after the Partitions of Poland did the title of "count" re-surface in the German-derived title hrabia.

The title of Count was also often conferred by the monarch as an honorific title for special services rendered, without an actual feudal estate (countship, county), just a title, with or without a domain name attached to it. In the UK, the equivalent Earl is often a courtesy title for the eldest son of a duke. In the United Kingdom stringent rules apply, often a future heir has a lower ranking courtesy title; in Italy, by contrast, all the sons of certain counts are counts (contini). In Sweden there is a distinction between counts (Swedish: greve) introduced before 1809 and after. All children in countship families introduced before 1809 are called count/countess. In families introduced after 1809 only the head of the family is called count, the rest had a status similar to barons and were called Mr. and Ms./Mrs. (before the use of titles was abolished).

Comitial titles in different European languages[link]

The following lists are originally based on a Glossary on Heraldica.org by Alexander Krischnig. The male form is followed by the female, and when available, by the territorial circumscription.

[edit] Etymological derivations from the Latin comes

[edit] Etymological parallels of the German Graf (some unclear)

Compound and related titles[link]

Apart from all these, a few unusual titles have been of comital rank, not necessarily to remain there.

• Dauphin (English: Dolphin; Spanish: Delfín; Italian: Delfino Latin: Delphinus) was a multiple (though rare) comital title in southern France, used by the Dauphins of Vienne and Auvergne, before 1349 when it became the title of the heir to the French throne. The Dauphin was the lord of the province still known as the région Dauphiné
• Conde-Duque "Count-Duke" is a rare title used in Spain, notably by Gaspar de Guzmán, Count-Duke of Olivares who had inherited the title of count of Olivares, but being created Duke of Sanlucar la Mayor by King Philip IV of Spain begged permission to preserve his inherited title in combination with the new honour—according to a practice almost unique in Spanish history; logically the incumbent ranks as Duke (higher than Count) just as he would when simply juxtapositioning both titles.

• Conde-Barão 'Count-Baron' is a rare title used in Portugal, notably by D. Luís Lobo da Silveira, 7th Baron of Alvito, who received the title of Count of Oriola in 1653 from King John IV of Portugal. His palace in Lisbon still exists, located in a square named after him (Largo do Conde-Barão).

• Archcount is a very rare title, etymologically analogous to archduke, apparently never recognized officially, used by or for:
  • the count of Flanders (an original pairie of the French realm in present Belgium, very rich, once expected to be raised to the rank of kingdom); the informal, rather descriptive use on account of the countship's de facto importance is rather analogous to the unofficial epithet Grand Duc de l'Occident (before Grand duke became a formal title) for the even wealthier Duke of Burgundy
  • at least one Count of Burgundy (i.e. Freigraf of Franche-Comté)
• In German kingdoms, the title Graf was combined with the word for the jurisdiction or domain the nobleman was holding as a fief and/or as a conferred or inherited jurisdiction, such as "Markgraf" (Margrave—see also Marquess), "Landgraf" ("landgrave"), "Freigraf" ("free count"), "Burggraf" ("Burgrave", where burg signifies castle; see also Viscount), Pfalzgraf (see (Count) Palatine), "Raugraf" (Raugrave, see "graf". Originally a unique title) and "Waldgraf" (waldgrave (comes nemoris), where wald signifies a large forest).
• The German Graf and Dutch graaf (Latin: Grafio) stems from the Byzantine-Greek grapheus meaning "he who calls a meeting [i.e. the court] together").^{[citation needed]}
• These titles are not to be confused with various minor administrative titles containing the word -graf in various offices which are not linked to nobility of feudality, such as the Dutch titles Pluimgraaf (a court sinecure, so usually held by noble courtiers, may even be rendered hereditary) and Dijkgraaf (to the present, in the Low Countries, a managing official in the local or regional administration of water household trough dykes, ditches, controls etcetera; also in German Deichgraf, synonymous with Deichhauptmann, "dike captain").

Lists of countships[link]

Territory of today's France[link]

West-Francia proper[link]

Since Louis VII (1137–80), the highest precedence amongst the vassals (Prince-bishops and secular nobility) of the French crown was enjoyed by those whose benefice or temporal fief was a pairie, i.e. carried the exclusive rank of pair; within the first (i.e. clerical) and second (noble) estates, the first three of the original twelve anciennes pairies were ducal, the next three comital comté-pairies:

• Bishop-counts of Beauvais (in Picardy)
• Bishop-counts of Châlons (in Champagne)
• Bishop-counts of Noyon (in Picardy)
• Count of Toulouse, until united to the crown in 1271 by marriage
• Count of Flanders (Flandres in French), which is in the Low countries and was confiscated in 1299, though returned in 1303
• Count of Champagne, until united to the crown (in 1316 by marriage, conclusively in 1361)

Later other countships (and duchies, even baronies) have been raised to this French peerage, but mostly as apanages (for members of the royal house) or for foreigners; after the 16th century all new peerages were always duchies and the medieval countship-peerages had died out, or were held by royal princes

Other French countships of note included those of:

• Count of Angoulême, later Dukes
• Count of Anjou, later Dukes
• Count of Auvergne
• Count of Bar, later Dukes
• Count of Blois
• Count of Boulogne
• Count of Foix
• Count of Montpensier
• Count of Poitiers
• Count of Saint Germain

Parts of today's France long within other kingdoms of the Holy Roman Empire[link]

• Freigraf ("free count") of Burgundy (i.e. present Franche-Comté)
• The Dauphiné

The Holy Roman Empire[link]

See also above for parts of present France

In Germany[link]

A Graf ruled over a territory known as a Grafschaft, literally 'countship' (also rendered as 'county'). See also various comital and related titles; especially those actually reigning over a principality that can be rendered as countship: Gefürsteter Graf, Landgraf, Reichsgraf; compare Markgraf, Pfalzgraf

In Italy[link]

The title of Conte is very prolific on the peninsula, and modern counts occupy the position in rural society comparable to an English squire, members of rural gentry. In the eleventh century however, conti like the Count of Savoia or the Norman Count of Apulia, were virtually sovereign lords of broad territories. Even apparently "lower"-sounding titles, like Viscount, could describe powerful dynasts, such as the Visconti family who ruled a major city such as Milan. The essential title of a feudatory, introduced by the Normans, was signore, modelled on the French seigneur, used with the name of the fief. By the fourteenth century, conte and the Imperial title barone were virtually synonymous, but some titles of count, according to the particulars of the patent, might be inherited by the eldest son of a Count. Other younger brothers might be distinguished as "X dei conti di Y" ("X of the counts of Y"). However if there is no male to inherit the title and the count has a daughter, she can inherit the title: for example the Countess Luisa Gazelli di Rossana e di Sebastiano, mother of Queen Paola of Belgium. The Papacy and the Kingdom of the Two Sicilies might appoint counts palatine with no particular territorial fief. Until 1812 in some regions, the purchaser of land designated "feudal" was ennobled by the noble seat that he held and became a conte. This practice ceased with the formal abolition of feudalism in the various principalities of early-19th century Italy, last of all in the Papal States.

Many Italian counts left their mark on Italian history as individuals, yet only a few contadi (countships; the word contadini for its inhabitants remains the Italian word for "peasant") were politically significant principalities, notably:

• Norman Count of Apulia
• Count of Savoy, later Duke (also partly in France and in Switzerland)
• Count of Asti
• Count of Montferrat (Monferrato)
• Count of Montefeltro
• Count of Tusculum

Holy See[link]

Christopher de Paus, a Norwegian convert to Roman Catholicism, a papal chamberlain and a relative of Henrik Ibsen, was conferred the title of count by Pope Pius XI

Count is one of the noble titles granted by the Pope as a temporal sovereign and the title's holder is sometimes informally known as a papal count or less so as a Roman count, often confused with the hereditary Roman nobility since the restoration of the Papal States in 1815. The comital title, which can be for life or hereditary, has been awarded in various forms by popes and Holy Roman Emperors since the Middle Ages, infrequently before the 14th century, and the pope continued to grant the comital and other noble title even after 1870, especially to prominent foreign Catholics. This comital title is no longer conferred, although titles already granted are recognised by the Holy See. By the Lateran Accord of 1929, the Italian government recognized and confirmed the pope's power to grant nobilary titles, and the titles granted by the Pope were considered equivalent to Italian titles. American Francis A. MacNutt, a papal chamberlain at the Vatican and a papal knight was also a papal marquis, having his noble title conferred by Pius X. American financier George MacDonald of New York was created a papal marquis in the 1930s and Long Island philanthropist Genevieve Brady was created a papal duchess by Pope Pius XI in the 1930s. However, noble titles have not been generously granted since Pope Pius XII. Count John McCormack and Countess Rose Kennedy were some of the last few to receive this honor. With Paul VI, who responded to the formal Christmas message of the patriciate by declaring that the papal nobility would no longer be a constituent body in the papal court, the custom essentially disappeared. Pope John Paul II did grant several noble titles to Polish compatriots at the beginning of his pontificate, but quietly and without their being published in the Acts of The Apostolic See. The popes continue to award knighthoods and medals of merit on a regular basis which do not confer noble status.^[3]

In Austria[link]

The principalities tended to start out as margraviate and/or (promoted to) duchy, and became nominal archduchies within the Habsburg dynasty; noteworthy are:

• Count of Tyrol
• Count of Cilli
• Count of Schaumburg

In Poland[link]

Numerous small ones, particularly:

• Counts of Galicia and Poland
• Count Zaleski

In Galicia (Central Europe)[link]

Particularly see:

• Counts of Galicia

In the Low Countries[link]

Apart from various small ones, significant were :

• in present Belgium :
  • Count of Flanders (Vlaanderen in local Dutch), but only the small part east of the river Schelde remained within the empire; the far larger west, an original French comté-pairie became part of the French realm
  • Count of Hainaut
  • Count of Namur, later a margraviate
  • Count of Leuven (Louvain) soon became the Duke of Brabant
  • Count of Mechelen, though the Heerlijkheid Mechelen was given the title of "Graafschap" in 1490, the city was rarely referred to as a county and the title of Count has not been in practical use by or for anyone of the series of persons that became rightfully entitled to it; the flag and weapon of the municipality still has the corresponding heraldic crowned single-headed eagle of sabre on gold.^[4][5]
• in the present Dutch kingdom of the Netherlands:
  • Count of Holland
  • Count of Zeeland
  • Count of Zutphen

In Switzerland[link]

• Count of Neuenburg
• Count of Toggenburg
• Count of Kyburg
• Count de Salis-Soglio
• Count of Panzutti

In other continental European countries[link]

In Iberia[link]

As opposed to the plethora of hollow "gentry" counts, only a few countships ever were important in medieval Iberia; most territory was firmly within the Reconquista kingdoms before counts could become important. However, during the 19th century, the title, having lost its high rank (equivalent to that of Duke), proliferated.

Portugal[link]

Portugal itself started as a countship in 868, but became a kingdom in 1139 (see:County of Portugal). Throughout the History of Portugal, especially during the Constitutional Monarchy many other countships were created (see: List of Countships in Portugal).

Spain[link]

In Spain, no countships of wider importance exist, except in the former Spanish march.^{[citation needed]}

• Count of Barcelona – it became integrated in the kingdom of Aragon, which became one of the two main components of the Spanish realm
• Count of Aragon
• Count of Castile
• Count of Galicia
• Count of Lara
• Count Cassius, progenitor of the Banu Qasi
• Count of Urgel
• Count of Pontevedra

• The other counts in Catalonia were much smaller and got absorbed into Barcelona/Aragon: Cerdanya, Ampurias, Conflans, Pallars, Roussillon (in present France).

In Bulgaria[link]

In the First Bulgarian Empire, a komit was a hereditary provincial ruler under the tsar documented since the reign of Presian (836-852)^[6] The Cometopouli dynasty was named after its founder, the komit of Sredets.

Crusader states[link]

• Count of Edessa
• Count of Tripoli (1102–1288)

Equivalents[link]

Like other major Western noble titles, Count is sometimes used to render certain titles in non-western languages with their own traditions, even though they are as a rule historically unrelated and thus hard to compare, but which are considered "equivalent" in rank.

This is the case with:

• the Chinese Bó (伯), hereditary title of nobility ranking below Hóu (侯) and above Zĭ (子)
• the Japanese equivalent Hakushaku (伯爵), adapted during the Meiji restoration
• the Korean equivalent Baekjak or Poguk
• in Vietnam, it is rendered Bá, one of the lower titles reserved for male members of the Imperial clan, above Tử (Viscount), Nam (Baron) and Vinh phong (lowest noble title), but lower than—in ascending order—Hầu (Marquis), Công (Prince), Quan-Cong (Duke) and Quốc-Công (Grand Duke), all under Vương (King).
• the Indian Sardar, adopted by the Maratha Empire

See also[link]

• County

References[link]

Sources[link]

• Labarre de Raillicourt: Les Comtes Romains
• Westermann, Großer Atlas zur Weltgeschichte (in German)

External links[link]

Look up count in Wiktionary, the free dictionary.

• Heraldica.org - here the French peerage
• Italian Titles of Nobility
• Webster's 1828 Dictionary

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

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Mark D
Birth name	Mark Randall
Nationality	British
Field	Painting
Movement	Stuckism

Mark D, born Mark Randall,^[1] is a British artist and punk musician (guitarist and songwriter). He is also associated with the Stuckist group of artists.

Life and work[link]

Mark D was born and spent his childhood in Peterborough. He now lives in Nottingham. From university onwards, Mark D (D standing for "degenerate") played in various bands including the Fat Tulips, Confetti (when he was known as David), the Pleasure Heads (when he was known as Mark Randyhead), Oscar, Servalan and Sundress, and appeared on dozens of releases. He published and edited fanzines, including the underground C86 fanzine Two Pint Take Home. He is a co-owner of Heaven Records.^[2]

The Fat Tulips were formed in 1987 and have been described as "incredibly skilled in the art of buzzing electric guitars, ferocious tempos, pristine pop melodies and lyrics that weren’t nearly as sweet as they sounded at first listen." ^[3]

Stella Vine: Go Fuck Yourself by Mark D

A few years after the Fat Tulips broke up in the mid-1990s, he started a dealership in art and antiques with his wife, Tully, focusing on work from the 1960s and 1970s, including John Piper, Stig Lindberg, Lucienne Day and John Clappison.

An interest in the music of Billy Childish led onto Childish's paintings, which he acquired, and subsequently also the work of other artists in the Stuckist group. He contacted two artists who had been exhibited by the Stuckists, Stella Vine and Gina Bold, both of whom refused to sell him work, because of his connection with Childish. Vine responded with an email, which said, "Go fuck yourself".^[1][2]

The Hypocrisy of Myners, a painting by Mark D, satirising the Tate gallery (Paul Myners was the Tate Chairman at the time).

Frustrated at not being able to acquire that work for his collection and inspired by an Andy Warhol quote, "If you want to sell paintings you have to make paintings", Mark D began in May 2005 to make his own paintings, for which he had no formal training or qualifications ("my only qualification is a love of art"). He was encouraged and given advice by Stuckist co-founder, Charles Thomson, without whom Mark D said, "I could easily have given up on doing my own work."^[4]

His paintings make visual and verbal comments on well-known figures in the art world, starting with Billy Childish, Tracey Emin, Stella Vine and Damien Hirst. He describes Emin as "without doubt a very talented artist whose work I greatly admire."^[2] In response to the controversy over the Tate's purchase of its trustee Chris Ofili's work, The Upper Room, he painted a picture of the Tate Chairman, Paul Myners—who had defended the purchase—called The Hypocrisy of Myners. A reproduction of this work was featured on a placard outside the Turner Prize in December 2005 during a Stuckist demonstration against the purchase.

Mark D's painting in the window of the Stuckist show, "Painting is the Medium of Yesterday", 2005.

Mark D first exhibited in September 2005 with the Stuckists at La Viande gallery, Shoreditch, in a show ''Painting Is the Medium of Yesterday"—Paul Myners CBE, Chairman of Tate Gallery, Chairman of Marks and Spencer, Chairman of Aspen Insurance, Chairman of Guardian Media, Director of Bank of England, Director of Bank of New York. A Show of Paintings by the Stuckists, as Refused by the Tate Gallery. Guaranteed 100% Free of Elephant Dung.^[2]

Mark D. Victoria Beckham: America Doesn't Love Me.

His solo show, Mark D and the Stuckists v Tracey Emin and Damien Hirst, was at the Art Organisation gallery in March 2007. It included a display of material about Stuckist demonstrations.^[5] As well as his own paintings he showed paintings by other Stuckist artists from his collection,^[2] which he jointly owns with his wife, Tully, and states is "the world's largest collection of Stuckist paintings".^[6]

In February 2008, he staged a show of his paintings, which satirise Stella Vine's images of Princess Diana and Kate Moss, replacing the former with Victoria Beckham and showing Moss eating slugs.^[1] The exhibition, held jointly with Abby Jackson at La Viande gallery in Shoreditch, London, was called Disney Heroines Committing Suicide.^[7]

He names Alfred Wallis, John Bellany, Bryan Pearce, and Stella Vine as influences, and sums up his artistic and musical philosophy with a derivation from punk:

Some outstanding musicians have proved that all you need are 3 chords and a cheap guitar to come up with a classic. I find it much more interesting to listen to some low budget production record full of life and energy with lots of good ideas, (e.g. early Clash and Velvet Underground, The Vaselines, The White Stripes and, of course, Billy Childish with the Buff Medways etc.) than some over-produced bland pomp like Athlete, Coldplay or U2.^[2]

Charles Thomson described his work as "brilliant punk paintings".^[8]

Gallery[link]

• 

  Mark D. Kate Moss: Kate Loves Slugs.

• 

  Heather Mills: Beauty and the Beatles Money

• 

  Paris Hilton: Panties Please Paris

• 

  Tracey Emin:I Could Be Carrie

• 

  Billy Childish: Truth Lies and Audiotape

• 

  Gina Bold: I Blame Charles

• 

  Damien Hirst: Money for Old Rope

• 

  Shed Boat Shed Shed

See also[link]

Mark D's painting on a placard during a Stuckists demonstration at Tate Britain, December 6, 2005.

• Stuckism
• The Upper Room (paintings)
• Fat Tulips
• Confetti (band)

References[link]

External links[link]

Wikimedia Commons has media related to: Mark D

• Mark D paintings on the Stuckism International site
• The Fat Tulips official site
• The Fat Tulips discography