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Memoirs of a Geisha (film), Western box office and reviews: Memoirs of a Geisha received mixed reviews from western critics. Illinois' Daily Herald said that the "[s]trong acting, meticulously created sets, beautiful visuals, and a compelling story of a celebrity who can't have the one thing she really wants make Geisha memorable". The Washington Times called the film "a sumptuously faithful and evocative adaption" while adding that "[c]ontrasting dialects may remain a minor nuisance for some spectators, but the movie can presumably count on the pictorial curiosity of readers who enjoyed Mr. Golden's sense of immersion, both harrowing and [a]esthetic, in the culture of a geisha upbringing in the years that culminated in World War II". The film scored a 35% "Rotten" rating on Rotten Tomatoes; the consensus stated "Less nuanced than its source material, Memoirs of a Geisha may be a lavish production, but it still carries the simplistic air of a soap opera." On Metacritic, the film was given a 54/100 meaning "mixed or average review." In the United States, the film managed $57 million during its box office run. The film peaked at 1,654 screens, facing off against King Kong, The Chronicles of Narnia, and Fun with Dick and Jane. During its first week in limited release, the film screening in only eight theaters tallied up an $85,313 per theater average which made it second in highest per theater averages behind Brokeback Mountain for 2005. International gross reached $158 million. The New Statesman criticized Memoirs of a Geisha's plot, saying that after Hatsumomo leaves, "the plot loses what little momentum it had and breaks down into one pretty visual after another" and says that the film version "abandons the original's scholarly mien to reveal the soap opera bubbling below". The Journal praised Zhang Ziyi, saying that she "exudes a heartbreaking innocence and vulnerablity" but said "too much of the character's yearning and despair is concealed behind the mask of white powder and rouge". London's The Evening Standard compared Memoirs of a Geisha to Cinderella and praised Gong Li, saying that "Li may be playing the loser of the piece but she saves this film" and Gong "endows Hatsumomo with genuine mystery". Eighteen days later, The Evening Standard put Memoirs of a Geisha on its Top Ten Films list. Glasgow's Daily Record praised the film, saying the "geisha world is drawn with such intimate detail that it seems timeless until the war, and with it the modern world comes crashing in".

who else

Gong Li,

Frasier Crane, Life with Martin and Niles: During the course of the spin-off's run, especially in scenes at Frasier's apartment, Frasier and Martin regularly argue over the living arrangements and each other's personalities: Frasier is sophisticated, intellectual, and erudite, while Martin is a rugged man of simple tastes who speaks (according to Frasier) in words that no "sophisticated, educated" person could understand. While Frasier has many common interests with Niles and shares adventures (or misadventures) with him, he has little in common with his father, Martin. In "Dinner at Eight" (1993), Martin takes Frasier and Niles to a themed steakhouse, where health-conscious, snobby Frasier and Niles criticize the food, the restaurant's customs, and the clientele. Martin becomes frustrated and angry before leaving, remarking upon departing that their mother, Hester, would be disappointed with their behavior. Frasier and Niles try to prove that they are not "snobs" by finishing their meal, although it takes them until after closing time. Ironically, in the Cheers season seven episode, "I Kid You Not" (1988), Frasier invites Carla and her son Ludlow to the upper class, expensive restaurant, but Carla and Ludlow criticize and mock it, enraging Frasier. In "Chess Pains", Frasier teaches Martin how to play chess, but is horrified when Martin becomes a better player than him, due to Martin's seasoned insight as a police detective. Frasier becomes obsessed with winning against his father until Frasier wins one match and Martin does not want to play with Frasier anymore. One late night, Frasier wakes Martin up and asks him whether he lost the chess match on purpose. Martin responds that Frasier "won, fair and square" and nothing more. In an episode of the seventh season "A Tsar Is Born" (1999), Martin takes an old family clock, which Frasier and Niles consider hideous, to exhibit on the television show Antiques Roadshow. As the boys soon discover, the clock is related to their ancestors and royalty, and may be worth a fortune, and heightens their expectations of being descended from royalty. Unfortunately, when they try to sell the clock later, the brothers learn from an antique specialist that it was stolen from the daughter of Tsar Alexander II. Moreover, their great-great-grandmother was discovered to have been the clock thief and the daughter's scullery maid, and is discovered to have later been a prostitute in New York City. Therefore, the brothers are left without a fortune, a clock, and their royal dreams are crushed, as Frasier puts it, they are descended from "thieves and whores". Much to their anger, Martin buys a Winnebago RV with money Frasier claimed were the proceeds from selling the clock.

Why did Fraiser move to Seattle?

Frasier's apartment, Frasier and Martin regularly argue over the living arrangements and each other's personalities:

Cathy Rush, Repeat and three-peat: Rene Muth, later to become Rene Portland, the long-time Penn State women's basketball coach, was on each of the championship teams. Her father owned a hardware store, and provided some buckets which some of the parents and the nuns, banged on with wooden dowels to make noise. This was the beginning of the Bucket Brigade. The team still wore pleated tunics and Chuck Taylor Converse sneakers. Some teams wore tunics, while others wore shorts. The Immaculata team wore tunics until the end of the 1973 season, then switched to a two piece blouse and skirt. The Immaculata team again won all their regular season games in the 72-73 season, and earned a spot in the National Tournament. This year, the tournament was hosted by Queens College in New York, making travel easier. The first round game was against Florida State, which Immaculata won 59-48. The quarter-finals match was against Western Washington, which they won 66-53. They moved on to play their third game in two days in the semi-final against Southern Connecticut, one of the premier teams of that era. Southern Connecticut had a twelve-point lead with three minutes to go in the game. The Macs fought back and took the lead, only to have Southern Connecticut tie the game with 26 seconds remaining. Marianne Crawford, the freshman guard for Immaculata, put up a shot, but it was coming off the rim. Theresa Shank saw it, and tipped it in as the buzzer sounded for the two point win, 47-45. The win set up the championship between Immaculata and Queens, playing on the Queens home court. The venue had a seating capacity of 3,000, Some thought the 1972 run had been a fluke, but the repeat performance was convincing fans the Immaculata team was very good. In the championship game, the final score of 59-52 is consistent with a reasonably close game, but the score was 59-37 in the fourth quarter when Rush pulled her starters and the bench players allowed the Queens team to score 15 consecutive points. The win completed the first undefeated season in US college women's basketball history, and the second consecutive National Championship for Immaculata. The Immaculata team went on to win an unprecedented third consecutive championship in the 1974 tournament. After winning a ten-point victory over Kansas State, Immaculata had two close games, winning by four points over Indiana, and by two points over William Penn. In the final, Immaculata faced Mississippi State College for Women, but won by 15 points 68-53.

Are there any other interesting aspects about this article?

but the score was 59-37 in the fourth quarter when Rush pulled her starters and the bench players allowed the Queens team to score 15 consecutive points.

Cathy Rush, Repeat and three-peat: Rene Muth, later to become Rene Portland, the long-time Penn State women's basketball coach, was on each of the championship teams. Her father owned a hardware store, and provided some buckets which some of the parents and the nuns, banged on with wooden dowels to make noise. This was the beginning of the Bucket Brigade. The team still wore pleated tunics and Chuck Taylor Converse sneakers. Some teams wore tunics, while others wore shorts. The Immaculata team wore tunics until the end of the 1973 season, then switched to a two piece blouse and skirt. The Immaculata team again won all their regular season games in the 72-73 season, and earned a spot in the National Tournament. This year, the tournament was hosted by Queens College in New York, making travel easier. The first round game was against Florida State, which Immaculata won 59-48. The quarter-finals match was against Western Washington, which they won 66-53. They moved on to play their third game in two days in the semi-final against Southern Connecticut, one of the premier teams of that era. Southern Connecticut had a twelve-point lead with three minutes to go in the game. The Macs fought back and took the lead, only to have Southern Connecticut tie the game with 26 seconds remaining. Marianne Crawford, the freshman guard for Immaculata, put up a shot, but it was coming off the rim. Theresa Shank saw it, and tipped it in as the buzzer sounded for the two point win, 47-45. The win set up the championship between Immaculata and Queens, playing on the Queens home court. The venue had a seating capacity of 3,000, Some thought the 1972 run had been a fluke, but the repeat performance was convincing fans the Immaculata team was very good. In the championship game, the final score of 59-52 is consistent with a reasonably close game, but the score was 59-37 in the fourth quarter when Rush pulled her starters and the bench players allowed the Queens team to score 15 consecutive points. The win completed the first undefeated season in US college women's basketball history, and the second consecutive National Championship for Immaculata. The Immaculata team went on to win an unprecedented third consecutive championship in the 1974 tournament. After winning a ten-point victory over Kansas State, Immaculata had two close games, winning by four points over Indiana, and by two points over William Penn. In the final, Immaculata faced Mississippi State College for Women, but won by 15 points 68-53.

DId they win the game

The win completed the first undefeated season in US college women's basketball history,

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

where was he a monarch of

European

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

what time period was this

Middle Ages.

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

what was his religion

Christian

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

did he have supporters

sponsored by the popes,

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

who was his critics

Modern medievalists

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

what did he do

enlightened figure ahead of his time

Frederick II, Holy Roman Emperor, Evaluation: Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London: One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London. Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors. 20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries. However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

what was he

"A Medieval Emperor,"

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

when was the group formed?

In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only').

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

why did they choose the name Queens of the stone age?

Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

Where did the name come from?

"Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss.

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

what albums did they release?

The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up!

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

did this album have any singles?

the song "18 A.D.,"

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

did they go on tour between 1996 - 1999?

Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

what other albums did they release during this time?

Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records,

Queens of the Stone Age, Formation and debut album (1996-1999): After the breakup of his previous band, Kyuss, in 1995, Josh Homme briefly joined Screaming Trees as a touring guitarist, before deciding to form a new band, Gamma Ray. In 1996 they released the eponymous Gamma Ray EP, featuring "Born to Hula" and "If Only Everything" (which would later appear on their self-titled debut as 'If Only'). The EP featured Matt Cameron of Soundgarden and Pearl Jam, Van Conner from Screaming Trees, and percussionist Victor Indrizzo. Gamma Ray changed their name in 1997 after the German power metal band Gamma Ray threatened to sue. The name "Queens of the Stone Age" came from a nickname given to Kyuss by their producer Chris Goss. Homme said of the name: "Kings would be too macho. The Kings of the Stone Age wear armor and have axes and wrestle. The Queens of the Stone Age hang out with the Kings of the Stone Age's girlfriends when they wrestle ... Rock should be heavy enough for the boys and sweet enough for the girls. That way everyone's happy and it's more of a party. Kings of the Stone Age is too lopsided." The first release under the Queens of the Stone Age name was the song "18 A.D.," released on the compilation album Burn One Up! Music for Stoners which featured members of the Dutch stoner rock band Beaver. The band's first live appearance was on November 20, 1997, at OK Hotel in Seattle, Washington, with Cameron on drums, Mike Johnson of Dinosaur Jr. on bass and John McBain of Monster Magnet on guitar. In December that year, the band released a split EP, Kyuss/Queens of the Stone Age, which featured three tracks from the Gamma Ray sessions as well as three Kyuss tracks recorded in 1995 prior to their breakup. Queens of the Stone Age released their self-titled debut in 1998 on Stone Gossard's and Regan Hagar's label Loosegroove Records, and on vinyl by Man's Ruin Records. Homme played guitar and bass on the album (the latter credited to Homme's alter-ego Carlo Von Sexron), Alfredo Hernandez on the drums, and several other contributions by Chris Goss and Hutch. Homme reportedly asked Screaming Trees vocalist Mark Lanegan to appear on the record, but he was unable due to other commitments. Soon after the recording sessions were finished for the album, former Kyuss bassist Nick Oliveri joined the group, and touring commenced with a band consisting entirely of ex-Kyuss members. Guitarist Dave Catching joined shortly after. From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group to play in other bands.

did anybody else leave the group?

From this point forward, the band's line-up would change frequently; by the time their second album was being recorded, Hernandez had left the group

Rakim, 2007-09: The Seventh Seal: Rakim retreated to his Connecticut estate to work leisurely on music. Not having released an album since 1999, he eschewed touring in favor of infrequent gigs. Rakim was able to retain the tracks he had made with Dr. Dre and, in 2006, announced that he would release a new studio album, The Seventh Seal. The album was delayed into 2009; instead, he followed up with a live album, The Archive: Live, Lost & Found, in 2008. In an interview with Billboard in 2007, when asked about story behind The Seventh Seal's title, Rakim said, The number 7 has a lot of significance. The seventh letter of the [Supreme] alphabet is G--that stands for God. There are seven continents, seven seas. The Seventh Seal deals with that and also some revelations in the Bible. Some call it the end of the world, but for me it's the end of the old and the beginning of the new. By me naming my album that, I'm using it metaphorically in hip hop. I'm hoping to kill the old state of hip hop and start with the new. In another interview with Billboard in 2009, he stated, The seals are from the Bible--Revelations and the coming of the Apocalypse. But Islam, Judaism, Christianity--all have a version of the same events. The Lion of Judah breaks the seven seals one by one, each imparting knowledge and inflicting catastrophe, ending with seven trumpets announcing the end of Times. After the Apocalypse, God rises from the ashes to recreate the Kingdom, taking only the greatest elements from the past with them. When you look at Hip-Hop, I want to do that: to spit fire and take our best from the ashes to build our kingdom; to recognize all the regional styles, conscious lyrics, the tracks, underground, mainstream, the way we treat each other. Lose the garbage and rebuild our scene. I've always tried to insert consciousness and spirituality in my records, interpreting the writings of all cultures and religions and how they apply to life in modern times. The Seventh Seal was released on November 17, 2009, after several delays on Rakim's own Ra Records, TVM, and SMC Recordings and distributed through Fontana and Universal Music Group. Considered a comeback album after a ten-year gap between releases, the album features the two singles: "Holy Are You", which was released on July 14, 2009, and "Walk These Streets" which was released on October 7, 2009. It features production from several renowned hip hop artists, including Nottz, J. Wells, Needlz, Jake One, and Nick Wiz The album sold 12,000 copies in the United States by November 22, 2009, according to SoundScan. Upon its release, The Seventh Seal received generally mixed or average reviews from most music critics; it holds an aggregate score of 59/100 at Metacritic.

When was the seventh seal relased?

2009;

Rakim, 2007-09: The Seventh Seal: Rakim retreated to his Connecticut estate to work leisurely on music. Not having released an album since 1999, he eschewed touring in favor of infrequent gigs. Rakim was able to retain the tracks he had made with Dr. Dre and, in 2006, announced that he would release a new studio album, The Seventh Seal. The album was delayed into 2009; instead, he followed up with a live album, The Archive: Live, Lost & Found, in 2008. In an interview with Billboard in 2007, when asked about story behind The Seventh Seal's title, Rakim said, The number 7 has a lot of significance. The seventh letter of the [Supreme] alphabet is G--that stands for God. There are seven continents, seven seas. The Seventh Seal deals with that and also some revelations in the Bible. Some call it the end of the world, but for me it's the end of the old and the beginning of the new. By me naming my album that, I'm using it metaphorically in hip hop. I'm hoping to kill the old state of hip hop and start with the new. In another interview with Billboard in 2009, he stated, The seals are from the Bible--Revelations and the coming of the Apocalypse. But Islam, Judaism, Christianity--all have a version of the same events. The Lion of Judah breaks the seven seals one by one, each imparting knowledge and inflicting catastrophe, ending with seven trumpets announcing the end of Times. After the Apocalypse, God rises from the ashes to recreate the Kingdom, taking only the greatest elements from the past with them. When you look at Hip-Hop, I want to do that: to spit fire and take our best from the ashes to build our kingdom; to recognize all the regional styles, conscious lyrics, the tracks, underground, mainstream, the way we treat each other. Lose the garbage and rebuild our scene. I've always tried to insert consciousness and spirituality in my records, interpreting the writings of all cultures and religions and how they apply to life in modern times. The Seventh Seal was released on November 17, 2009, after several delays on Rakim's own Ra Records, TVM, and SMC Recordings and distributed through Fontana and Universal Music Group. Considered a comeback album after a ten-year gap between releases, the album features the two singles: "Holy Are You", which was released on July 14, 2009, and "Walk These Streets" which was released on October 7, 2009. It features production from several renowned hip hop artists, including Nottz, J. Wells, Needlz, Jake One, and Nick Wiz The album sold 12,000 copies in the United States by November 22, 2009, according to SoundScan. Upon its release, The Seventh Seal received generally mixed or average reviews from most music critics; it holds an aggregate score of 59/100 at Metacritic.

How did it chart?

The Seventh Seal received generally mixed or average reviews from most music critics; it holds an aggregate score of 59/100 at Metacritic.

Rakim, 2007-09: The Seventh Seal: Rakim retreated to his Connecticut estate to work leisurely on music. Not having released an album since 1999, he eschewed touring in favor of infrequent gigs. Rakim was able to retain the tracks he had made with Dr. Dre and, in 2006, announced that he would release a new studio album, The Seventh Seal. The album was delayed into 2009; instead, he followed up with a live album, The Archive: Live, Lost & Found, in 2008. In an interview with Billboard in 2007, when asked about story behind The Seventh Seal's title, Rakim said, The number 7 has a lot of significance. The seventh letter of the [Supreme] alphabet is G--that stands for God. There are seven continents, seven seas. The Seventh Seal deals with that and also some revelations in the Bible. Some call it the end of the world, but for me it's the end of the old and the beginning of the new. By me naming my album that, I'm using it metaphorically in hip hop. I'm hoping to kill the old state of hip hop and start with the new. In another interview with Billboard in 2009, he stated, The seals are from the Bible--Revelations and the coming of the Apocalypse. But Islam, Judaism, Christianity--all have a version of the same events. The Lion of Judah breaks the seven seals one by one, each imparting knowledge and inflicting catastrophe, ending with seven trumpets announcing the end of Times. After the Apocalypse, God rises from the ashes to recreate the Kingdom, taking only the greatest elements from the past with them. When you look at Hip-Hop, I want to do that: to spit fire and take our best from the ashes to build our kingdom; to recognize all the regional styles, conscious lyrics, the tracks, underground, mainstream, the way we treat each other. Lose the garbage and rebuild our scene. I've always tried to insert consciousness and spirituality in my records, interpreting the writings of all cultures and religions and how they apply to life in modern times. The Seventh Seal was released on November 17, 2009, after several delays on Rakim's own Ra Records, TVM, and SMC Recordings and distributed through Fontana and Universal Music Group. Considered a comeback album after a ten-year gap between releases, the album features the two singles: "Holy Are You", which was released on July 14, 2009, and "Walk These Streets" which was released on October 7, 2009. It features production from several renowned hip hop artists, including Nottz, J. Wells, Needlz, Jake One, and Nick Wiz The album sold 12,000 copies in the United States by November 22, 2009, according to SoundScan. Upon its release, The Seventh Seal received generally mixed or average reviews from most music critics; it holds an aggregate score of 59/100 at Metacritic.

Did he have any hits?

"Holy Are You", which was released on July 14, 2009, and "Walk These Streets" which was released on October 7, 2009. It features production from several renowned hip hop artists,

Rakim, 2007-09: The Seventh Seal: Rakim retreated to his Connecticut estate to work leisurely on music. Not having released an album since 1999, he eschewed touring in favor of infrequent gigs. Rakim was able to retain the tracks he had made with Dr. Dre and, in 2006, announced that he would release a new studio album, The Seventh Seal. The album was delayed into 2009; instead, he followed up with a live album, The Archive: Live, Lost & Found, in 2008. In an interview with Billboard in 2007, when asked about story behind The Seventh Seal's title, Rakim said, The number 7 has a lot of significance. The seventh letter of the [Supreme] alphabet is G--that stands for God. There are seven continents, seven seas. The Seventh Seal deals with that and also some revelations in the Bible. Some call it the end of the world, but for me it's the end of the old and the beginning of the new. By me naming my album that, I'm using it metaphorically in hip hop. I'm hoping to kill the old state of hip hop and start with the new. In another interview with Billboard in 2009, he stated, The seals are from the Bible--Revelations and the coming of the Apocalypse. But Islam, Judaism, Christianity--all have a version of the same events. The Lion of Judah breaks the seven seals one by one, each imparting knowledge and inflicting catastrophe, ending with seven trumpets announcing the end of Times. After the Apocalypse, God rises from the ashes to recreate the Kingdom, taking only the greatest elements from the past with them. When you look at Hip-Hop, I want to do that: to spit fire and take our best from the ashes to build our kingdom; to recognize all the regional styles, conscious lyrics, the tracks, underground, mainstream, the way we treat each other. Lose the garbage and rebuild our scene. I've always tried to insert consciousness and spirituality in my records, interpreting the writings of all cultures and religions and how they apply to life in modern times. The Seventh Seal was released on November 17, 2009, after several delays on Rakim's own Ra Records, TVM, and SMC Recordings and distributed through Fontana and Universal Music Group. Considered a comeback album after a ten-year gap between releases, the album features the two singles: "Holy Are You", which was released on July 14, 2009, and "Walk These Streets" which was released on October 7, 2009. It features production from several renowned hip hop artists, including Nottz, J. Wells, Needlz, Jake One, and Nick Wiz The album sold 12,000 copies in the United States by November 22, 2009, according to SoundScan. Upon its release, The Seventh Seal received generally mixed or average reviews from most music critics; it holds an aggregate score of 59/100 at Metacritic.

what did this album mean to them?

Seventh Seal deals with that and also some revelations in the Bible.

Rakim, 2011-present: Fourth studio album: In 2011, Rakim performed Paid in Full in its entirety at the Blue Note Jazz Club in New York City, in honor of the album's 25th anniversary. He was backed by The Roots. In 2012, Rakim announced that he and Eric B. will release a 25th anniversary edition of their 1987 album Paid in Full, which will contain new tracks recorded by Eric B. & Rakim, by the end of 2012; Rakim announced he would release a new solo album by the end of 2012. He performed at the annual Roots' Picnic in Philadelphia in June. In an interview with The Detroit Free Press he announced he was in the studio with Pharrell Williams working on a new album set to be released in 2013, saying the first single will be released before the end of the year. On September 24, 2013, he released a collaborative single with DMX entitled "Don't Call Me". In 2014, Rakim is featured on the collaborative single with American rock band Linkin Park, titled "Guilty All the Same". The song was released on March 6, 2014 under Warner Bros. Records, as the first single from their sixth studio album, titled The Hunting Party. He contributed his rap vocals during the bridge for the main version of the song; however, he is not featured on a radio edit of the song. The song was officially released on March 7, 2014, for digital download. On April 27, 2015, Rakim announced he was working on a new album and planned to release it in the middle or end of 2015. He said "This is one of those albums where I can have fun. My last album, The Seventh Seal, was somewhat of a conscious album. I wanted to make a statement on that album."

WHO RETAIN THE TRACK OF RAKIM?

In 2011, Rakim performed Paid in Full in its entirety at the Blue Note Jazz Club in New York City, in honor of the album's 25th anniversary.

Rakim, 2011-present: Fourth studio album: In 2011, Rakim performed Paid in Full in its entirety at the Blue Note Jazz Club in New York City, in honor of the album's 25th anniversary. He was backed by The Roots. In 2012, Rakim announced that he and Eric B. will release a 25th anniversary edition of their 1987 album Paid in Full, which will contain new tracks recorded by Eric B. & Rakim, by the end of 2012; Rakim announced he would release a new solo album by the end of 2012. He performed at the annual Roots' Picnic in Philadelphia in June. In an interview with The Detroit Free Press he announced he was in the studio with Pharrell Williams working on a new album set to be released in 2013, saying the first single will be released before the end of the year. On September 24, 2013, he released a collaborative single with DMX entitled "Don't Call Me". In 2014, Rakim is featured on the collaborative single with American rock band Linkin Park, titled "Guilty All the Same". The song was released on March 6, 2014 under Warner Bros. Records, as the first single from their sixth studio album, titled The Hunting Party. He contributed his rap vocals during the bridge for the main version of the song; however, he is not featured on a radio edit of the song. The song was officially released on March 7, 2014, for digital download. On April 27, 2015, Rakim announced he was working on a new album and planned to release it in the middle or end of 2015. He said "This is one of those albums where I can have fun. My last album, The Seventh Seal, was somewhat of a conscious album. I wanted to make a statement on that album."

WHO TAKE THE INTERVIEW TO RAKIM?

In 2014, Rakim is featured on the collaborative single with American rock band Linkin Park,

Rakim, 2011-present: Fourth studio album: In 2011, Rakim performed Paid in Full in its entirety at the Blue Note Jazz Club in New York City, in honor of the album's 25th anniversary. He was backed by The Roots. In 2012, Rakim announced that he and Eric B. will release a 25th anniversary edition of their 1987 album Paid in Full, which will contain new tracks recorded by Eric B. & Rakim, by the end of 2012; Rakim announced he would release a new solo album by the end of 2012. He performed at the annual Roots' Picnic in Philadelphia in June. In an interview with The Detroit Free Press he announced he was in the studio with Pharrell Williams working on a new album set to be released in 2013, saying the first single will be released before the end of the year. On September 24, 2013, he released a collaborative single with DMX entitled "Don't Call Me". In 2014, Rakim is featured on the collaborative single with American rock band Linkin Park, titled "Guilty All the Same". The song was released on March 6, 2014 under Warner Bros. Records, as the first single from their sixth studio album, titled The Hunting Party. He contributed his rap vocals during the bridge for the main version of the song; however, he is not featured on a radio edit of the song. The song was officially released on March 7, 2014, for digital download. On April 27, 2015, Rakim announced he was working on a new album and planned to release it in the middle or end of 2015. He said "This is one of those albums where I can have fun. My last album, The Seventh Seal, was somewhat of a conscious album. I wanted to make a statement on that album."

WHAT IS A SIGNIFICANT OF SEVEN?

"This is one of those albums where I can have fun. My last album, The Seventh Seal,

Rakim, 2011-present: Fourth studio album: In 2011, Rakim performed Paid in Full in its entirety at the Blue Note Jazz Club in New York City, in honor of the album's 25th anniversary. He was backed by The Roots. In 2012, Rakim announced that he and Eric B. will release a 25th anniversary edition of their 1987 album Paid in Full, which will contain new tracks recorded by Eric B. & Rakim, by the end of 2012; Rakim announced he would release a new solo album by the end of 2012. He performed at the annual Roots' Picnic in Philadelphia in June. In an interview with The Detroit Free Press he announced he was in the studio with Pharrell Williams working on a new album set to be released in 2013, saying the first single will be released before the end of the year. On September 24, 2013, he released a collaborative single with DMX entitled "Don't Call Me". In 2014, Rakim is featured on the collaborative single with American rock band Linkin Park, titled "Guilty All the Same". The song was released on March 6, 2014 under Warner Bros. Records, as the first single from their sixth studio album, titled The Hunting Party. He contributed his rap vocals during the bridge for the main version of the song; however, he is not featured on a radio edit of the song. The song was officially released on March 7, 2014, for digital download. On April 27, 2015, Rakim announced he was working on a new album and planned to release it in the middle or end of 2015. He said "This is one of those albums where I can have fun. My last album, The Seventh Seal, was somewhat of a conscious album. I wanted to make a statement on that album."

DID HE RELEASED AN ANOTHER ALBUM?

On April 27, 2015, Rakim announced he was working on a new album

Miyavi, 2009-2011: Founding J-Glam Inc.: In 2004, he starred as himself in the film Oresama. In February he went on his first solo tour, Tokyo Dassou, and in July additional dates were added in Korea and Taiwan. In June his seventh single, "Ashita, Genki Ni Naare", was released, which charted twenty-second, and number one on the indies chart. In August a small, free, fan-club-only event was organized in Tokyo Dome, and on the 31st he held his last indie concert at the Nippon Budokan. In October, he signed a major contract with Universal Music Group, but was still co-managed by PS Company. This was followed by the release of his first major (double) single, "Rock no Gyakushuu/21sekikei Koushinkyoku", which entered the top ten on the charts. During May 2005 another single, "Freedom Fighters -Icecream wo Motta Hadashi no Megami to, Kikanjuu wo Motta Hadaka no Ousama-", was released, which charted tenth, and on June 1, his first major album, Miyavizm, was released. It was his first album to enter the top ten in the charts. It was followed by the third major single, "Kekkon Shiki Uta/Are you ready to Rock?", which is his best charting single, along with "Dear My Friend"/"Itoshii Hito", released in 2006; both reached number six. In December he performed at the first Peace & Smile Carnival organized by PS Company. In late 2005 and for most of 2006, Miyavi shifted to an acoustic/pop sound reflected in his second and third major albums, MYV Pops and Miyaviuta -Dokusou-, released on August 2 and September 13 respectively. They charted at fifteenth and twenty-fifth. The first album singles, "Senor Senora Senorita/Gigpig Boogie" and "Kimi ni Negai Wo", are not different in style. They charted as tenth and twenty-sixth respectively. Miyavi showcased his new acoustic style for the first time in the 25 Shunen Kinen Koen concert series held at Tokyo Geijutsu Gekijo for five days in September around his 25th birthday. Miyavi left for America for the next six months to study the English language and take dance classes, and, on the weekends, went to Venice Beach and gave street performances. On February 17, Miyavi, having been invited by the break dancer Mr. Freeze, performed with the local DJ and percussionist at his first solo concert in the United States, at the Tabu Ultra Lounge in the MGM Grand, Las Vegas. On May 25, at the JRock Revolution concert organized by Yoshiki Hayashi at the Wiltern Theatre in Los Angeles, it was officially announced that Miyavi would be a member of a band named S.K.I.N.. On June 29, the band held their debut and their only concert yet at the anime expo in Long Beach, California. In June, Miyavi's seventh major single (and 14th overall), "Sakihokoru Hana no you ni -Neo Visualizm-/Kabuki Danshi", was released in Japan, which charted as twelfth. In July, a remixed extended play, 7 Samurai Sessions -We're Kavki Boiz-, was released, which includes re-arrangements of his past songs. It charted as forty-fourth. It was followed by Miyavi's nationwide tour, which started on July 16. He also performed at Animagic in Bonn, Germany, and in Seoul, South Korea. In November his tenth major single was released, "Subarashikikana, Kono Sekai - What A Wonderful World", which charted as thirteenth. On January 16, 2008, his ninth major single was released, "Hi no Hikari Sae Todokanai Kono Basho De", on which he collaborated with fellow Skin guitarist Sugizo. It is his third single to enter the top ten. On March 19, his fourth major studio album was released, titled, This Iz the Japanese Kabuki Rock, which charted as twenty-fifth. In May, it was followed by his very first worldwide tour, This Iz The Japanese Kabuki Rock Tour 2008, with 33 concerts in the United States, Chile, Brazil, Germany, England, the Netherlands, Spain, Sweden, Finland, France, Taiwan, South Korea, China and Japan. The tour covered a distance of approximately 48,385 miles, equivalent to almost two trips around the world, and the majority of the concerts were sold out and covered extensively by media organizations. It was the most successful international tour undertaken by a Japanese artist in history. On June 27, a compilation album, Azn Pride -This Iz the Japanese Kabuki Rock-, was released in Korea and Taiwan, later also in Japan, which charted as forty-fourth. In September he performed in Beijing, China. On December 24, a remix album was released, Room No. 382, which failed to enter the top hundred. In 2009, on January 3, Miyavi performed at the 10th Anniversary Commemorative concert by PS Company at the Nippon Budokan. On April 5, Miyavi left the PS Company because their ten-year contract expired, and on April 8 launched his own company, J-Glam inc., of which he is the president. On April 22, a compilation album was released, Victory Road to the King of Neo Visual Rock, which includes all his major singles with Universal Group. On June 1, "Super Hero," a new song, was released through his official Myspace, and in September his International Fanclub was opened. On September 19, Miyavi started his second worldwide tour, Neo Tokyo Samurai Black 2009/2010, in Moscow, Russia. He held 17 concerts in Europe, visiting Austria, Hungary and Italy for the first time. The tour immediately continued in South America, with concerts in Brazil, Argentina, Chile and Mexico. The United States leg was canceled due to illness and an injury, but Miyavi managed to perform in November at Anime Matsuri, Texas. On December 31, he signed a new contract with EMI Music Japan. On March 10, 2010, his first single with EMI was released, "Survive", via iTunes. The worldwide tour was continued on March 28, with the concert at Human Stage, Okinawa, and nationwide. In June and early July he toured throughout the United States and Canada, and in October for the first time in Australia. On September 15, his eleventh major single was released, "Torture". On October 13, his fifth studio album was released, What's My Name?, which charted as twenty-sixth. On November 6, he performed at the EMI Rocks 50th anniversary event at the Saitama Super Arena. In March 2011, a new world tour, titled What's My Name?, began in Europe, with his first visit to Belgium. In April the tour continued in Japan, while in July Miyavi performed in France, and in September at the Mount Taishan MAO Rock Festival in China. In May 2011, a live album, Live in London 2011, was released, which was recorded during the London concert in March. On October 5, his twelfth major single, "Strong", was released, in collaboration with Japanese rapper Kreva. It was followed by the North American leg of the tour. Miyavi performed in South America at the Maquinaria festival in Chile, and visited Venezuela, Peru and Colombia for the first time.

How did J glam inc come to be

In February he went on his first solo tour, Tokyo Dassou,

Miyavi, 2009-2011: Founding J-Glam Inc.: In 2004, he starred as himself in the film Oresama. In February he went on his first solo tour, Tokyo Dassou, and in July additional dates were added in Korea and Taiwan. In June his seventh single, "Ashita, Genki Ni Naare", was released, which charted twenty-second, and number one on the indies chart. In August a small, free, fan-club-only event was organized in Tokyo Dome, and on the 31st he held his last indie concert at the Nippon Budokan. In October, he signed a major contract with Universal Music Group, but was still co-managed by PS Company. This was followed by the release of his first major (double) single, "Rock no Gyakushuu/21sekikei Koushinkyoku", which entered the top ten on the charts. During May 2005 another single, "Freedom Fighters -Icecream wo Motta Hadashi no Megami to, Kikanjuu wo Motta Hadaka no Ousama-", was released, which charted tenth, and on June 1, his first major album, Miyavizm, was released. It was his first album to enter the top ten in the charts. It was followed by the third major single, "Kekkon Shiki Uta/Are you ready to Rock?", which is his best charting single, along with "Dear My Friend"/"Itoshii Hito", released in 2006; both reached number six. In December he performed at the first Peace & Smile Carnival organized by PS Company. In late 2005 and for most of 2006, Miyavi shifted to an acoustic/pop sound reflected in his second and third major albums, MYV Pops and Miyaviuta -Dokusou-, released on August 2 and September 13 respectively. They charted at fifteenth and twenty-fifth. The first album singles, "Senor Senora Senorita/Gigpig Boogie" and "Kimi ni Negai Wo", are not different in style. They charted as tenth and twenty-sixth respectively. Miyavi showcased his new acoustic style for the first time in the 25 Shunen Kinen Koen concert series held at Tokyo Geijutsu Gekijo for five days in September around his 25th birthday. Miyavi left for America for the next six months to study the English language and take dance classes, and, on the weekends, went to Venice Beach and gave street performances. On February 17, Miyavi, having been invited by the break dancer Mr. Freeze, performed with the local DJ and percussionist at his first solo concert in the United States, at the Tabu Ultra Lounge in the MGM Grand, Las Vegas. On May 25, at the JRock Revolution concert organized by Yoshiki Hayashi at the Wiltern Theatre in Los Angeles, it was officially announced that Miyavi would be a member of a band named S.K.I.N.. On June 29, the band held their debut and their only concert yet at the anime expo in Long Beach, California. In June, Miyavi's seventh major single (and 14th overall), "Sakihokoru Hana no you ni -Neo Visualizm-/Kabuki Danshi", was released in Japan, which charted as twelfth. In July, a remixed extended play, 7 Samurai Sessions -We're Kavki Boiz-, was released, which includes re-arrangements of his past songs. It charted as forty-fourth. It was followed by Miyavi's nationwide tour, which started on July 16. He also performed at Animagic in Bonn, Germany, and in Seoul, South Korea. In November his tenth major single was released, "Subarashikikana, Kono Sekai - What A Wonderful World", which charted as thirteenth. On January 16, 2008, his ninth major single was released, "Hi no Hikari Sae Todokanai Kono Basho De", on which he collaborated with fellow Skin guitarist Sugizo. It is his third single to enter the top ten. On March 19, his fourth major studio album was released, titled, This Iz the Japanese Kabuki Rock, which charted as twenty-fifth. In May, it was followed by his very first worldwide tour, This Iz The Japanese Kabuki Rock Tour 2008, with 33 concerts in the United States, Chile, Brazil, Germany, England, the Netherlands, Spain, Sweden, Finland, France, Taiwan, South Korea, China and Japan. The tour covered a distance of approximately 48,385 miles, equivalent to almost two trips around the world, and the majority of the concerts were sold out and covered extensively by media organizations. It was the most successful international tour undertaken by a Japanese artist in history. On June 27, a compilation album, Azn Pride -This Iz the Japanese Kabuki Rock-, was released in Korea and Taiwan, later also in Japan, which charted as forty-fourth. In September he performed in Beijing, China. On December 24, a remix album was released, Room No. 382, which failed to enter the top hundred. In 2009, on January 3, Miyavi performed at the 10th Anniversary Commemorative concert by PS Company at the Nippon Budokan. On April 5, Miyavi left the PS Company because their ten-year contract expired, and on April 8 launched his own company, J-Glam inc., of which he is the president. On April 22, a compilation album was released, Victory Road to the King of Neo Visual Rock, which includes all his major singles with Universal Group. On June 1, "Super Hero," a new song, was released through his official Myspace, and in September his International Fanclub was opened. On September 19, Miyavi started his second worldwide tour, Neo Tokyo Samurai Black 2009/2010, in Moscow, Russia. He held 17 concerts in Europe, visiting Austria, Hungary and Italy for the first time. The tour immediately continued in South America, with concerts in Brazil, Argentina, Chile and Mexico. The United States leg was canceled due to illness and an injury, but Miyavi managed to perform in November at Anime Matsuri, Texas. On December 31, he signed a new contract with EMI Music Japan. On March 10, 2010, his first single with EMI was released, "Survive", via iTunes. The worldwide tour was continued on March 28, with the concert at Human Stage, Okinawa, and nationwide. In June and early July he toured throughout the United States and Canada, and in October for the first time in Australia. On September 15, his eleventh major single was released, "Torture". On October 13, his fifth studio album was released, What's My Name?, which charted as twenty-sixth. On November 6, he performed at the EMI Rocks 50th anniversary event at the Saitama Super Arena. In March 2011, a new world tour, titled What's My Name?, began in Europe, with his first visit to Belgium. In April the tour continued in Japan, while in July Miyavi performed in France, and in September at the Mount Taishan MAO Rock Festival in China. In May 2011, a live album, Live in London 2011, was released, which was recorded during the London concert in March. On October 5, his twelfth major single, "Strong", was released, in collaboration with Japanese rapper Kreva. It was followed by the North American leg of the tour. Miyavi performed in South America at the Maquinaria festival in Chile, and visited Venezuela, Peru and Colombia for the first time.

Was his first solo tour a success

in July additional dates were added in Korea

Miyavi, 2009-2011: Founding J-Glam Inc.: In 2004, he starred as himself in the film Oresama. In February he went on his first solo tour, Tokyo Dassou, and in July additional dates were added in Korea and Taiwan. In June his seventh single, "Ashita, Genki Ni Naare", was released, which charted twenty-second, and number one on the indies chart. In August a small, free, fan-club-only event was organized in Tokyo Dome, and on the 31st he held his last indie concert at the Nippon Budokan. In October, he signed a major contract with Universal Music Group, but was still co-managed by PS Company. This was followed by the release of his first major (double) single, "Rock no Gyakushuu/21sekikei Koushinkyoku", which entered the top ten on the charts. During May 2005 another single, "Freedom Fighters -Icecream wo Motta Hadashi no Megami to, Kikanjuu wo Motta Hadaka no Ousama-", was released, which charted tenth, and on June 1, his first major album, Miyavizm, was released. It was his first album to enter the top ten in the charts. It was followed by the third major single, "Kekkon Shiki Uta/Are you ready to Rock?", which is his best charting single, along with "Dear My Friend"/"Itoshii Hito", released in 2006; both reached number six. In December he performed at the first Peace & Smile Carnival organized by PS Company. In late 2005 and for most of 2006, Miyavi shifted to an acoustic/pop sound reflected in his second and third major albums, MYV Pops and Miyaviuta -Dokusou-, released on August 2 and September 13 respectively. They charted at fifteenth and twenty-fifth. The first album singles, "Senor Senora Senorita/Gigpig Boogie" and "Kimi ni Negai Wo", are not different in style. They charted as tenth and twenty-sixth respectively. Miyavi showcased his new acoustic style for the first time in the 25 Shunen Kinen Koen concert series held at Tokyo Geijutsu Gekijo for five days in September around his 25th birthday. Miyavi left for America for the next six months to study the English language and take dance classes, and, on the weekends, went to Venice Beach and gave street performances. On February 17, Miyavi, having been invited by the break dancer Mr. Freeze, performed with the local DJ and percussionist at his first solo concert in the United States, at the Tabu Ultra Lounge in the MGM Grand, Las Vegas. On May 25, at the JRock Revolution concert organized by Yoshiki Hayashi at the Wiltern Theatre in Los Angeles, it was officially announced that Miyavi would be a member of a band named S.K.I.N.. On June 29, the band held their debut and their only concert yet at the anime expo in Long Beach, California. In June, Miyavi's seventh major single (and 14th overall), "Sakihokoru Hana no you ni -Neo Visualizm-/Kabuki Danshi", was released in Japan, which charted as twelfth. In July, a remixed extended play, 7 Samurai Sessions -We're Kavki Boiz-, was released, which includes re-arrangements of his past songs. It charted as forty-fourth. It was followed by Miyavi's nationwide tour, which started on July 16. He also performed at Animagic in Bonn, Germany, and in Seoul, South Korea. In November his tenth major single was released, "Subarashikikana, Kono Sekai - What A Wonderful World", which charted as thirteenth. On January 16, 2008, his ninth major single was released, "Hi no Hikari Sae Todokanai Kono Basho De", on which he collaborated with fellow Skin guitarist Sugizo. It is his third single to enter the top ten. On March 19, his fourth major studio album was released, titled, This Iz the Japanese Kabuki Rock, which charted as twenty-fifth. In May, it was followed by his very first worldwide tour, This Iz The Japanese Kabuki Rock Tour 2008, with 33 concerts in the United States, Chile, Brazil, Germany, England, the Netherlands, Spain, Sweden, Finland, France, Taiwan, South Korea, China and Japan. The tour covered a distance of approximately 48,385 miles, equivalent to almost two trips around the world, and the majority of the concerts were sold out and covered extensively by media organizations. It was the most successful international tour undertaken by a Japanese artist in history. On June 27, a compilation album, Azn Pride -This Iz the Japanese Kabuki Rock-, was released in Korea and Taiwan, later also in Japan, which charted as forty-fourth. In September he performed in Beijing, China. On December 24, a remix album was released, Room No. 382, which failed to enter the top hundred. In 2009, on January 3, Miyavi performed at the 10th Anniversary Commemorative concert by PS Company at the Nippon Budokan. On April 5, Miyavi left the PS Company because their ten-year contract expired, and on April 8 launched his own company, J-Glam inc., of which he is the president. On April 22, a compilation album was released, Victory Road to the King of Neo Visual Rock, which includes all his major singles with Universal Group. On June 1, "Super Hero," a new song, was released through his official Myspace, and in September his International Fanclub was opened. On September 19, Miyavi started his second worldwide tour, Neo Tokyo Samurai Black 2009/2010, in Moscow, Russia. He held 17 concerts in Europe, visiting Austria, Hungary and Italy for the first time. The tour immediately continued in South America, with concerts in Brazil, Argentina, Chile and Mexico. The United States leg was canceled due to illness and an injury, but Miyavi managed to perform in November at Anime Matsuri, Texas. On December 31, he signed a new contract with EMI Music Japan. On March 10, 2010, his first single with EMI was released, "Survive", via iTunes. The worldwide tour was continued on March 28, with the concert at Human Stage, Okinawa, and nationwide. In June and early July he toured throughout the United States and Canada, and in October for the first time in Australia. On September 15, his eleventh major single was released, "Torture". On October 13, his fifth studio album was released, What's My Name?, which charted as twenty-sixth. On November 6, he performed at the EMI Rocks 50th anniversary event at the Saitama Super Arena. In March 2011, a new world tour, titled What's My Name?, began in Europe, with his first visit to Belgium. In April the tour continued in Japan, while in July Miyavi performed in France, and in September at the Mount Taishan MAO Rock Festival in China. In May 2011, a live album, Live in London 2011, was released, which was recorded during the London concert in March. On October 5, his twelfth major single, "Strong", was released, in collaboration with Japanese rapper Kreva. It was followed by the North American leg of the tour. Miyavi performed in South America at the Maquinaria festival in Chile, and visited Venezuela, Peru and Colombia for the first time.

is there anything else important about this tour

In June his seventh single, "Ashita, Genki Ni Naare", was released,

Miyavi, 2009-2011: Founding J-Glam Inc.: In 2004, he starred as himself in the film Oresama. In February he went on his first solo tour, Tokyo Dassou, and in July additional dates were added in Korea and Taiwan. In June his seventh single, "Ashita, Genki Ni Naare", was released, which charted twenty-second, and number one on the indies chart. In August a small, free, fan-club-only event was organized in Tokyo Dome, and on the 31st he held his last indie concert at the Nippon Budokan. In October, he signed a major contract with Universal Music Group, but was still co-managed by PS Company. This was followed by the release of his first major (double) single, "Rock no Gyakushuu/21sekikei Koushinkyoku", which entered the top ten on the charts. During May 2005 another single, "Freedom Fighters -Icecream wo Motta Hadashi no Megami to, Kikanjuu wo Motta Hadaka no Ousama-", was released, which charted tenth, and on June 1, his first major album, Miyavizm, was released. It was his first album to enter the top ten in the charts. It was followed by the third major single, "Kekkon Shiki Uta/Are you ready to Rock?", which is his best charting single, along with "Dear My Friend"/"Itoshii Hito", released in 2006; both reached number six. In December he performed at the first Peace & Smile Carnival organized by PS Company. In late 2005 and for most of 2006, Miyavi shifted to an acoustic/pop sound reflected in his second and third major albums, MYV Pops and Miyaviuta -Dokusou-, released on August 2 and September 13 respectively. They charted at fifteenth and twenty-fifth. The first album singles, "Senor Senora Senorita/Gigpig Boogie" and "Kimi ni Negai Wo", are not different in style. They charted as tenth and twenty-sixth respectively. Miyavi showcased his new acoustic style for the first time in the 25 Shunen Kinen Koen concert series held at Tokyo Geijutsu Gekijo for five days in September around his 25th birthday. Miyavi left for America for the next six months to study the English language and take dance classes, and, on the weekends, went to Venice Beach and gave street performances. On February 17, Miyavi, having been invited by the break dancer Mr. Freeze, performed with the local DJ and percussionist at his first solo concert in the United States, at the Tabu Ultra Lounge in the MGM Grand, Las Vegas. On May 25, at the JRock Revolution concert organized by Yoshiki Hayashi at the Wiltern Theatre in Los Angeles, it was officially announced that Miyavi would be a member of a band named S.K.I.N.. On June 29, the band held their debut and their only concert yet at the anime expo in Long Beach, California. In June, Miyavi's seventh major single (and 14th overall), "Sakihokoru Hana no you ni -Neo Visualizm-/Kabuki Danshi", was released in Japan, which charted as twelfth. In July, a remixed extended play, 7 Samurai Sessions -We're Kavki Boiz-, was released, which includes re-arrangements of his past songs. It charted as forty-fourth. It was followed by Miyavi's nationwide tour, which started on July 16. He also performed at Animagic in Bonn, Germany, and in Seoul, South Korea. In November his tenth major single was released, "Subarashikikana, Kono Sekai - What A Wonderful World", which charted as thirteenth. On January 16, 2008, his ninth major single was released, "Hi no Hikari Sae Todokanai Kono Basho De", on which he collaborated with fellow Skin guitarist Sugizo. It is his third single to enter the top ten. On March 19, his fourth major studio album was released, titled, This Iz the Japanese Kabuki Rock, which charted as twenty-fifth. In May, it was followed by his very first worldwide tour, This Iz The Japanese Kabuki Rock Tour 2008, with 33 concerts in the United States, Chile, Brazil, Germany, England, the Netherlands, Spain, Sweden, Finland, France, Taiwan, South Korea, China and Japan. The tour covered a distance of approximately 48,385 miles, equivalent to almost two trips around the world, and the majority of the concerts were sold out and covered extensively by media organizations. It was the most successful international tour undertaken by a Japanese artist in history. On June 27, a compilation album, Azn Pride -This Iz the Japanese Kabuki Rock-, was released in Korea and Taiwan, later also in Japan, which charted as forty-fourth. In September he performed in Beijing, China. On December 24, a remix album was released, Room No. 382, which failed to enter the top hundred. In 2009, on January 3, Miyavi performed at the 10th Anniversary Commemorative concert by PS Company at the Nippon Budokan. On April 5, Miyavi left the PS Company because their ten-year contract expired, and on April 8 launched his own company, J-Glam inc., of which he is the president. On April 22, a compilation album was released, Victory Road to the King of Neo Visual Rock, which includes all his major singles with Universal Group. On June 1, "Super Hero," a new song, was released through his official Myspace, and in September his International Fanclub was opened. On September 19, Miyavi started his second worldwide tour, Neo Tokyo Samurai Black 2009/2010, in Moscow, Russia. He held 17 concerts in Europe, visiting Austria, Hungary and Italy for the first time. The tour immediately continued in South America, with concerts in Brazil, Argentina, Chile and Mexico. The United States leg was canceled due to illness and an injury, but Miyavi managed to perform in November at Anime Matsuri, Texas. On December 31, he signed a new contract with EMI Music Japan. On March 10, 2010, his first single with EMI was released, "Survive", via iTunes. The worldwide tour was continued on March 28, with the concert at Human Stage, Okinawa, and nationwide. In June and early July he toured throughout the United States and Canada, and in October for the first time in Australia. On September 15, his eleventh major single was released, "Torture". On October 13, his fifth studio album was released, What's My Name?, which charted as twenty-sixth. On November 6, he performed at the EMI Rocks 50th anniversary event at the Saitama Super Arena. In March 2011, a new world tour, titled What's My Name?, began in Europe, with his first visit to Belgium. In April the tour continued in Japan, while in July Miyavi performed in France, and in September at the Mount Taishan MAO Rock Festival in China. In May 2011, a live album, Live in London 2011, was released, which was recorded during the London concert in March. On October 5, his twelfth major single, "Strong", was released, in collaboration with Japanese rapper Kreva. It was followed by the North American leg of the tour. Miyavi performed in South America at the Maquinaria festival in Chile, and visited Venezuela, Peru and Colombia for the first time.

Was that single a hit?

single,

Miyavi, 2009-2011: Founding J-Glam Inc.: In 2004, he starred as himself in the film Oresama. In February he went on his first solo tour, Tokyo Dassou, and in July additional dates were added in Korea and Taiwan. In June his seventh single, "Ashita, Genki Ni Naare", was released, which charted twenty-second, and number one on the indies chart. In August a small, free, fan-club-only event was organized in Tokyo Dome, and on the 31st he held his last indie concert at the Nippon Budokan. In October, he signed a major contract with Universal Music Group, but was still co-managed by PS Company. This was followed by the release of his first major (double) single, "Rock no Gyakushuu/21sekikei Koushinkyoku", which entered the top ten on the charts. During May 2005 another single, "Freedom Fighters -Icecream wo Motta Hadashi no Megami to, Kikanjuu wo Motta Hadaka no Ousama-", was released, which charted tenth, and on June 1, his first major album, Miyavizm, was released. It was his first album to enter the top ten in the charts. It was followed by the third major single, "Kekkon Shiki Uta/Are you ready to Rock?", which is his best charting single, along with "Dear My Friend"/"Itoshii Hito", released in 2006; both reached number six. In December he performed at the first Peace & Smile Carnival organized by PS Company. In late 2005 and for most of 2006, Miyavi shifted to an acoustic/pop sound reflected in his second and third major albums, MYV Pops and Miyaviuta -Dokusou-, released on August 2 and September 13 respectively. They charted at fifteenth and twenty-fifth. The first album singles, "Senor Senora Senorita/Gigpig Boogie" and "Kimi ni Negai Wo", are not different in style. They charted as tenth and twenty-sixth respectively. Miyavi showcased his new acoustic style for the first time in the 25 Shunen Kinen Koen concert series held at Tokyo Geijutsu Gekijo for five days in September around his 25th birthday. Miyavi left for America for the next six months to study the English language and take dance classes, and, on the weekends, went to Venice Beach and gave street performances. On February 17, Miyavi, having been invited by the break dancer Mr. Freeze, performed with the local DJ and percussionist at his first solo concert in the United States, at the Tabu Ultra Lounge in the MGM Grand, Las Vegas. On May 25, at the JRock Revolution concert organized by Yoshiki Hayashi at the Wiltern Theatre in Los Angeles, it was officially announced that Miyavi would be a member of a band named S.K.I.N.. On June 29, the band held their debut and their only concert yet at the anime expo in Long Beach, California. In June, Miyavi's seventh major single (and 14th overall), "Sakihokoru Hana no you ni -Neo Visualizm-/Kabuki Danshi", was released in Japan, which charted as twelfth. In July, a remixed extended play, 7 Samurai Sessions -We're Kavki Boiz-, was released, which includes re-arrangements of his past songs. It charted as forty-fourth. It was followed by Miyavi's nationwide tour, which started on July 16. He also performed at Animagic in Bonn, Germany, and in Seoul, South Korea. In November his tenth major single was released, "Subarashikikana, Kono Sekai - What A Wonderful World", which charted as thirteenth. On January 16, 2008, his ninth major single was released, "Hi no Hikari Sae Todokanai Kono Basho De", on which he collaborated with fellow Skin guitarist Sugizo. It is his third single to enter the top ten. On March 19, his fourth major studio album was released, titled, This Iz the Japanese Kabuki Rock, which charted as twenty-fifth. In May, it was followed by his very first worldwide tour, This Iz The Japanese Kabuki Rock Tour 2008, with 33 concerts in the United States, Chile, Brazil, Germany, England, the Netherlands, Spain, Sweden, Finland, France, Taiwan, South Korea, China and Japan. The tour covered a distance of approximately 48,385 miles, equivalent to almost two trips around the world, and the majority of the concerts were sold out and covered extensively by media organizations. It was the most successful international tour undertaken by a Japanese artist in history. On June 27, a compilation album, Azn Pride -This Iz the Japanese Kabuki Rock-, was released in Korea and Taiwan, later also in Japan, which charted as forty-fourth. In September he performed in Beijing, China. On December 24, a remix album was released, Room No. 382, which failed to enter the top hundred. In 2009, on January 3, Miyavi performed at the 10th Anniversary Commemorative concert by PS Company at the Nippon Budokan. On April 5, Miyavi left the PS Company because their ten-year contract expired, and on April 8 launched his own company, J-Glam inc., of which he is the president. On April 22, a compilation album was released, Victory Road to the King of Neo Visual Rock, which includes all his major singles with Universal Group. On June 1, "Super Hero," a new song, was released through his official Myspace, and in September his International Fanclub was opened. On September 19, Miyavi started his second worldwide tour, Neo Tokyo Samurai Black 2009/2010, in Moscow, Russia. He held 17 concerts in Europe, visiting Austria, Hungary and Italy for the first time. The tour immediately continued in South America, with concerts in Brazil, Argentina, Chile and Mexico. The United States leg was canceled due to illness and an injury, but Miyavi managed to perform in November at Anime Matsuri, Texas. On December 31, he signed a new contract with EMI Music Japan. On March 10, 2010, his first single with EMI was released, "Survive", via iTunes. The worldwide tour was continued on March 28, with the concert at Human Stage, Okinawa, and nationwide. In June and early July he toured throughout the United States and Canada, and in October for the first time in Australia. On September 15, his eleventh major single was released, "Torture". On October 13, his fifth studio album was released, What's My Name?, which charted as twenty-sixth. On November 6, he performed at the EMI Rocks 50th anniversary event at the Saitama Super Arena. In March 2011, a new world tour, titled What's My Name?, began in Europe, with his first visit to Belgium. In April the tour continued in Japan, while in July Miyavi performed in France, and in September at the Mount Taishan MAO Rock Festival in China. In May 2011, a live album, Live in London 2011, was released, which was recorded during the London concert in March. On October 5, his twelfth major single, "Strong", was released, in collaboration with Japanese rapper Kreva. It was followed by the North American leg of the tour. Miyavi performed in South America at the Maquinaria festival in Chile, and visited Venezuela, Peru and Colombia for the first time.

Did he have any hits after that one?

another single, "Freedom Fighters -Icecream wo Motta Hadashi no Megami to,

Miyavi, 2012-2014: Miyavi and international acting career: In 2012, Miyavi performed on February 19 at the second EMI Rocks event in Saitama Super Arena. On June 29, he performed at the EHZ Festival in Helette, while on June 30, he was the only Asian representative at the Main Square Festival in Arras, France. On July 11, his thirteenth major single, "Day 1," was released in collaboration with the French electronic producer and DJ, Yuksek. In August, he performed at the Kubana Festival in Russia. On September 8, Miyavi performed at the 908 Festival, organized by Kreva, in Saitama Super Arena. In October two concerts were held in Indonesia. On November 14, Samurai Sessions vol.1, his second EP, was released, which featured collaboration with various artists, and it was followed by a short nationwide tour. It reached 21 on the Oricon charts. On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released; a promotional tour of the same name followed. On June 19, his seventh studio album, Miyavi, was released in Japan. It is his best-selling album so far, reaching number eight on the Oricon charts. On October 12, 2013, it was announced that Miyavi would venture into professional acting with his international debut in the film Unbroken. He played the role of Imperial Japanese Army sergeant Mutsuhiro Watanabe, nicknamed "The Bird", in what was Angelina Jolie's second feature film as director. It was released in December 2014. Miyavi commented that as the movie was somewhat sensitive to the Japanese people, he had hesitated as to whether he should take this role. However, after meeting with Jolie, and given that the underlying theme of this story is forgiveness, he wholeheartedly decided to accept it. Miyavi was featured in the same month's edition of Vogue Italia. In 2013 Miyavi was nominated for the MTV Europe Music Award for Best Japanese Act, and at the MTV Video Music Awards Japan he won the Best Collaboration category with Yuksek. In 2014, the music video of "Horizon" was nominated for the Best Male Video at the MTV Video Music Awards Japan. In 2014, Miyavi went on his fourth world tour, "Slap the World", which started on February 22 in Malaysia. He continued throughout Europe, followed by the European release of his latest studio album, and visited Mexico City and Los Angeles, with United States release of the album, before returning to Japan for his longest nationwide tour so far. Miyavi composed the music for the single "Top Of The World" by SMAP, which topped the Oricon singles charts. On August 25, he performed for the first time at Fuji Rock Festival. On September 9, his new single "Real?" was released, on which Miyavi collaborated with Jam and Lewis and Jeff Blue, and also the live video recording from the world tour.

Did he act in the USA?

Los Angeles,

Miyavi, 2012-2014: Miyavi and international acting career: In 2012, Miyavi performed on February 19 at the second EMI Rocks event in Saitama Super Arena. On June 29, he performed at the EHZ Festival in Helette, while on June 30, he was the only Asian representative at the Main Square Festival in Arras, France. On July 11, his thirteenth major single, "Day 1," was released in collaboration with the French electronic producer and DJ, Yuksek. In August, he performed at the Kubana Festival in Russia. On September 8, Miyavi performed at the 908 Festival, organized by Kreva, in Saitama Super Arena. In October two concerts were held in Indonesia. On November 14, Samurai Sessions vol.1, his second EP, was released, which featured collaboration with various artists, and it was followed by a short nationwide tour. It reached 21 on the Oricon charts. On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released; a promotional tour of the same name followed. On June 19, his seventh studio album, Miyavi, was released in Japan. It is his best-selling album so far, reaching number eight on the Oricon charts. On October 12, 2013, it was announced that Miyavi would venture into professional acting with his international debut in the film Unbroken. He played the role of Imperial Japanese Army sergeant Mutsuhiro Watanabe, nicknamed "The Bird", in what was Angelina Jolie's second feature film as director. It was released in December 2014. Miyavi commented that as the movie was somewhat sensitive to the Japanese people, he had hesitated as to whether he should take this role. However, after meeting with Jolie, and given that the underlying theme of this story is forgiveness, he wholeheartedly decided to accept it. Miyavi was featured in the same month's edition of Vogue Italia. In 2013 Miyavi was nominated for the MTV Europe Music Award for Best Japanese Act, and at the MTV Video Music Awards Japan he won the Best Collaboration category with Yuksek. In 2014, the music video of "Horizon" was nominated for the Best Male Video at the MTV Video Music Awards Japan. In 2014, Miyavi went on his fourth world tour, "Slap the World", which started on February 22 in Malaysia. He continued throughout Europe, followed by the European release of his latest studio album, and visited Mexico City and Los Angeles, with United States release of the album, before returning to Japan for his longest nationwide tour so far. Miyavi composed the music for the single "Top Of The World" by SMAP, which topped the Oricon singles charts. On August 25, he performed for the first time at Fuji Rock Festival. On September 9, his new single "Real?" was released, on which Miyavi collaborated with Jam and Lewis and Jeff Blue, and also the live video recording from the world tour.

What movie was he in?

Unbroken.

Miyavi, 2012-2014: Miyavi and international acting career: In 2012, Miyavi performed on February 19 at the second EMI Rocks event in Saitama Super Arena. On June 29, he performed at the EHZ Festival in Helette, while on June 30, he was the only Asian representative at the Main Square Festival in Arras, France. On July 11, his thirteenth major single, "Day 1," was released in collaboration with the French electronic producer and DJ, Yuksek. In August, he performed at the Kubana Festival in Russia. On September 8, Miyavi performed at the 908 Festival, organized by Kreva, in Saitama Super Arena. In October two concerts were held in Indonesia. On November 14, Samurai Sessions vol.1, his second EP, was released, which featured collaboration with various artists, and it was followed by a short nationwide tour. It reached 21 on the Oricon charts. On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released; a promotional tour of the same name followed. On June 19, his seventh studio album, Miyavi, was released in Japan. It is his best-selling album so far, reaching number eight on the Oricon charts. On October 12, 2013, it was announced that Miyavi would venture into professional acting with his international debut in the film Unbroken. He played the role of Imperial Japanese Army sergeant Mutsuhiro Watanabe, nicknamed "The Bird", in what was Angelina Jolie's second feature film as director. It was released in December 2014. Miyavi commented that as the movie was somewhat sensitive to the Japanese people, he had hesitated as to whether he should take this role. However, after meeting with Jolie, and given that the underlying theme of this story is forgiveness, he wholeheartedly decided to accept it. Miyavi was featured in the same month's edition of Vogue Italia. In 2013 Miyavi was nominated for the MTV Europe Music Award for Best Japanese Act, and at the MTV Video Music Awards Japan he won the Best Collaboration category with Yuksek. In 2014, the music video of "Horizon" was nominated for the Best Male Video at the MTV Video Music Awards Japan. In 2014, Miyavi went on his fourth world tour, "Slap the World", which started on February 22 in Malaysia. He continued throughout Europe, followed by the European release of his latest studio album, and visited Mexico City and Los Angeles, with United States release of the album, before returning to Japan for his longest nationwide tour so far. Miyavi composed the music for the single "Top Of The World" by SMAP, which topped the Oricon singles charts. On August 25, he performed for the first time at Fuji Rock Festival. On September 9, his new single "Real?" was released, on which Miyavi collaborated with Jam and Lewis and Jeff Blue, and also the live video recording from the world tour.

was he in any other movies?

live video recording from the world tour.

Miyavi, 2012-2014: Miyavi and international acting career: In 2012, Miyavi performed on February 19 at the second EMI Rocks event in Saitama Super Arena. On June 29, he performed at the EHZ Festival in Helette, while on June 30, he was the only Asian representative at the Main Square Festival in Arras, France. On July 11, his thirteenth major single, "Day 1," was released in collaboration with the French electronic producer and DJ, Yuksek. In August, he performed at the Kubana Festival in Russia. On September 8, Miyavi performed at the 908 Festival, organized by Kreva, in Saitama Super Arena. In October two concerts were held in Indonesia. On November 14, Samurai Sessions vol.1, his second EP, was released, which featured collaboration with various artists, and it was followed by a short nationwide tour. It reached 21 on the Oricon charts. On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released; a promotional tour of the same name followed. On June 19, his seventh studio album, Miyavi, was released in Japan. It is his best-selling album so far, reaching number eight on the Oricon charts. On October 12, 2013, it was announced that Miyavi would venture into professional acting with his international debut in the film Unbroken. He played the role of Imperial Japanese Army sergeant Mutsuhiro Watanabe, nicknamed "The Bird", in what was Angelina Jolie's second feature film as director. It was released in December 2014. Miyavi commented that as the movie was somewhat sensitive to the Japanese people, he had hesitated as to whether he should take this role. However, after meeting with Jolie, and given that the underlying theme of this story is forgiveness, he wholeheartedly decided to accept it. Miyavi was featured in the same month's edition of Vogue Italia. In 2013 Miyavi was nominated for the MTV Europe Music Award for Best Japanese Act, and at the MTV Video Music Awards Japan he won the Best Collaboration category with Yuksek. In 2014, the music video of "Horizon" was nominated for the Best Male Video at the MTV Video Music Awards Japan. In 2014, Miyavi went on his fourth world tour, "Slap the World", which started on February 22 in Malaysia. He continued throughout Europe, followed by the European release of his latest studio album, and visited Mexico City and Los Angeles, with United States release of the album, before returning to Japan for his longest nationwide tour so far. Miyavi composed the music for the single "Top Of The World" by SMAP, which topped the Oricon singles charts. On August 25, he performed for the first time at Fuji Rock Festival. On September 9, his new single "Real?" was released, on which Miyavi collaborated with Jam and Lewis and Jeff Blue, and also the live video recording from the world tour.

Did he do any music tours during this time?

fourth world tour, "Slap the World",

Miyavi, 2012-2014: Miyavi and international acting career: In 2012, Miyavi performed on February 19 at the second EMI Rocks event in Saitama Super Arena. On June 29, he performed at the EHZ Festival in Helette, while on June 30, he was the only Asian representative at the Main Square Festival in Arras, France. On July 11, his thirteenth major single, "Day 1," was released in collaboration with the French electronic producer and DJ, Yuksek. In August, he performed at the Kubana Festival in Russia. On September 8, Miyavi performed at the 908 Festival, organized by Kreva, in Saitama Super Arena. In October two concerts were held in Indonesia. On November 14, Samurai Sessions vol.1, his second EP, was released, which featured collaboration with various artists, and it was followed by a short nationwide tour. It reached 21 on the Oricon charts. On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released; a promotional tour of the same name followed. On June 19, his seventh studio album, Miyavi, was released in Japan. It is his best-selling album so far, reaching number eight on the Oricon charts. On October 12, 2013, it was announced that Miyavi would venture into professional acting with his international debut in the film Unbroken. He played the role of Imperial Japanese Army sergeant Mutsuhiro Watanabe, nicknamed "The Bird", in what was Angelina Jolie's second feature film as director. It was released in December 2014. Miyavi commented that as the movie was somewhat sensitive to the Japanese people, he had hesitated as to whether he should take this role. However, after meeting with Jolie, and given that the underlying theme of this story is forgiveness, he wholeheartedly decided to accept it. Miyavi was featured in the same month's edition of Vogue Italia. In 2013 Miyavi was nominated for the MTV Europe Music Award for Best Japanese Act, and at the MTV Video Music Awards Japan he won the Best Collaboration category with Yuksek. In 2014, the music video of "Horizon" was nominated for the Best Male Video at the MTV Video Music Awards Japan. In 2014, Miyavi went on his fourth world tour, "Slap the World", which started on February 22 in Malaysia. He continued throughout Europe, followed by the European release of his latest studio album, and visited Mexico City and Los Angeles, with United States release of the album, before returning to Japan for his longest nationwide tour so far. Miyavi composed the music for the single "Top Of The World" by SMAP, which topped the Oricon singles charts. On August 25, he performed for the first time at Fuji Rock Festival. On September 9, his new single "Real?" was released, on which Miyavi collaborated with Jam and Lewis and Jeff Blue, and also the live video recording from the world tour.

Did he sing with any other artists?

Miyavi collaborated with Jam and Lewis and Jeff Blue,

Miyavi, 2012-2014: Miyavi and international acting career: In 2012, Miyavi performed on February 19 at the second EMI Rocks event in Saitama Super Arena. On June 29, he performed at the EHZ Festival in Helette, while on June 30, he was the only Asian representative at the Main Square Festival in Arras, France. On July 11, his thirteenth major single, "Day 1," was released in collaboration with the French electronic producer and DJ, Yuksek. In August, he performed at the Kubana Festival in Russia. On September 8, Miyavi performed at the 908 Festival, organized by Kreva, in Saitama Super Arena. In October two concerts were held in Indonesia. On November 14, Samurai Sessions vol.1, his second EP, was released, which featured collaboration with various artists, and it was followed by a short nationwide tour. It reached 21 on the Oricon charts. On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released; a promotional tour of the same name followed. On June 19, his seventh studio album, Miyavi, was released in Japan. It is his best-selling album so far, reaching number eight on the Oricon charts. On October 12, 2013, it was announced that Miyavi would venture into professional acting with his international debut in the film Unbroken. He played the role of Imperial Japanese Army sergeant Mutsuhiro Watanabe, nicknamed "The Bird", in what was Angelina Jolie's second feature film as director. It was released in December 2014. Miyavi commented that as the movie was somewhat sensitive to the Japanese people, he had hesitated as to whether he should take this role. However, after meeting with Jolie, and given that the underlying theme of this story is forgiveness, he wholeheartedly decided to accept it. Miyavi was featured in the same month's edition of Vogue Italia. In 2013 Miyavi was nominated for the MTV Europe Music Award for Best Japanese Act, and at the MTV Video Music Awards Japan he won the Best Collaboration category with Yuksek. In 2014, the music video of "Horizon" was nominated for the Best Male Video at the MTV Video Music Awards Japan. In 2014, Miyavi went on his fourth world tour, "Slap the World", which started on February 22 in Malaysia. He continued throughout Europe, followed by the European release of his latest studio album, and visited Mexico City and Los Angeles, with United States release of the album, before returning to Japan for his longest nationwide tour so far. Miyavi composed the music for the single "Top Of The World" by SMAP, which topped the Oricon singles charts. On August 25, he performed for the first time at Fuji Rock Festival. On September 9, his new single "Real?" was released, on which Miyavi collaborated with Jam and Lewis and Jeff Blue, and also the live video recording from the world tour.

Is there anything else interesting

On February 28, 2013, "Ahead of the Light", Miyavi's fourteenth single, was released;

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

Why did Oliveri leave?

Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

Was that true?

Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite."

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

Was Songs for the Deaf an album?

their third album.

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

How well did it do?

Songs for the Deaf was a critical hit and was certified gold in 2003,

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

Are there any other interesting aspects about this article?

Grohl returned to his other projects and was replaced on

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

Why was Grohl replaced?

returned to his other projects

Queens of the Stone Age, Songs for the Deaf, mainstream exposure and Oliveri's departure (2001-2004): Foo Fighters frontman and former Nirvana drummer, Dave Grohl, joined in late 2001 to record drums for their third album. Songs for the Deaf was released in August 2002, again featuring Lanegan, along with former A Perfect Circle guitarist Troy Van Leeuwen to the touring line-up following the album's release. Also featured on Songs for the Deaf for the final track "Mosquito Song" were former A Perfect Circle bassist Paz Lenchantin on viola and piano, and Dean Ween on guitar. This record was supposed to sound bizarre--like lightning in a bottle. We also were extremely fucked up. It even sounds that way to me, like a crazy person. The radio interludes are supposed to be like the drive from L.A. to Joshua Tree, a drive that makes you feel like you're letting go--more David Lynch with every mile. Songs for the Deaf was a critical hit and was certified gold in 2003, with sales of over 900,000. The singles "No One Knows" and "Go with the Flow" became hits on radio and MTV, with the former just outside the Billboard Top 40. "No One Knows" and "Go with the Flow" were also featured on the first iterations of the popular video games Guitar Hero and Rock Band (respectively). The Songs for the Deaf tour culminated in a string of headline dates in Australia in January 2004. Grohl returned to his other projects and was replaced on the European leg of the tour by former Danzig drummer Joey Castillo, who joined the band full-time. After the tour, Homme fired Oliveri, as he was convinced that Oliveri had been physically abusive to his girlfriend: "A couple years ago, I spoke to Nick about a rumor I heard. I said, 'If I ever find out that this is true, I can't know you, man.'" Homme considered breaking up the band after firing Oliveri, but found a new determination to continue. Oliveri countered in the press that the band had been "poisoned by hunger for power" and that without him, they were "Queens Lite." He later softened his opinion and said: "My relationship with Josh is good. The new Queens record kicks ass." The two reportedly are still friends and as of October 2006, Oliveri was interested in rejoining the band. Oliveri later contributed to a Queens of the Stone Age for the first time in nine years, contributing backing vocals to the band's sixth album, ...Like Clockwork.

Who did he get replaced by?

former Danzig drummer Joey Castillo,

Rudolf Friml, The Firefly and early operettas: One of the most popular theatrical forms in the early decades of the 20th century in America was the operetta, and its most famous composer was Irish-born Victor Herbert. It was announced in 1912 that operetta diva Emma Trentini would be starring in a new operetta on Broadway by Herbert with lyricist Otto Harbach entitled The Firefly. Shortly before the writing of the operetta, Trentini appeared in a special performance of Herbert's Naughty Marietta conducted by Herbert himself. When Trentini refused to sing "Italian Street Song" for the encore, an enraged Herbert stormed out of the orchestra pit refusing any further work with Trentini. Arthur Hammerstein, the operetta's sponsor, frantically began to search for another composer. Not finding any other theatre composer who could compose as well as Herbert, Hammerstein settled on the almost unknown Friml because of his classical training. After a month of work, Friml produced the score for what would be his first theatrical success. After tryouts in Syracuse, New York, The Firefly opened at the Lyric Theatre on December 2, 1912 to a warm reception by both the audience and the critics. The production moved to the Casino Theatre after Christmas, where it ran until March 15, 1913, for a total of 120 performances. After The Firefly, Friml produced three more operettas that each had longer runs than The Firefly, although they are not as enduringly successful. These were High Jinks (1913), Katinka (1915) and You're in Love (1917). He also contributed songs to a musical in 1915 entitled The Peasant Girl. Trentini was named as a co-respondent in Friml's divorce from his first wife in 1915, and evidence was introduced that they were having an affair. Another show, Sometime, written with Rida Johnson Young and starring Ed Wynn and Mae West, ran well on Broadway in 1918-1919.

what was the firefly?

operetta on Broadway by Herbert with lyricist Otto Harbach entitled The Firefly.

Rudolf Friml, The Firefly and early operettas: One of the most popular theatrical forms in the early decades of the 20th century in America was the operetta, and its most famous composer was Irish-born Victor Herbert. It was announced in 1912 that operetta diva Emma Trentini would be starring in a new operetta on Broadway by Herbert with lyricist Otto Harbach entitled The Firefly. Shortly before the writing of the operetta, Trentini appeared in a special performance of Herbert's Naughty Marietta conducted by Herbert himself. When Trentini refused to sing "Italian Street Song" for the encore, an enraged Herbert stormed out of the orchestra pit refusing any further work with Trentini. Arthur Hammerstein, the operetta's sponsor, frantically began to search for another composer. Not finding any other theatre composer who could compose as well as Herbert, Hammerstein settled on the almost unknown Friml because of his classical training. After a month of work, Friml produced the score for what would be his first theatrical success. After tryouts in Syracuse, New York, The Firefly opened at the Lyric Theatre on December 2, 1912 to a warm reception by both the audience and the critics. The production moved to the Casino Theatre after Christmas, where it ran until March 15, 1913, for a total of 120 performances. After The Firefly, Friml produced three more operettas that each had longer runs than The Firefly, although they are not as enduringly successful. These were High Jinks (1913), Katinka (1915) and You're in Love (1917). He also contributed songs to a musical in 1915 entitled The Peasant Girl. Trentini was named as a co-respondent in Friml's divorce from his first wife in 1915, and evidence was introduced that they were having an affair. Another show, Sometime, written with Rida Johnson Young and starring Ed Wynn and Mae West, ran well on Broadway in 1918-1919.

what were some of the early operetta's?

He also contributed songs to a musical in 1915 entitled The Peasant Girl.

Rudolf Friml, The Firefly and early operettas: One of the most popular theatrical forms in the early decades of the 20th century in America was the operetta, and its most famous composer was Irish-born Victor Herbert. It was announced in 1912 that operetta diva Emma Trentini would be starring in a new operetta on Broadway by Herbert with lyricist Otto Harbach entitled The Firefly. Shortly before the writing of the operetta, Trentini appeared in a special performance of Herbert's Naughty Marietta conducted by Herbert himself. When Trentini refused to sing "Italian Street Song" for the encore, an enraged Herbert stormed out of the orchestra pit refusing any further work with Trentini. Arthur Hammerstein, the operetta's sponsor, frantically began to search for another composer. Not finding any other theatre composer who could compose as well as Herbert, Hammerstein settled on the almost unknown Friml because of his classical training. After a month of work, Friml produced the score for what would be his first theatrical success. After tryouts in Syracuse, New York, The Firefly opened at the Lyric Theatre on December 2, 1912 to a warm reception by both the audience and the critics. The production moved to the Casino Theatre after Christmas, where it ran until March 15, 1913, for a total of 120 performances. After The Firefly, Friml produced three more operettas that each had longer runs than The Firefly, although they are not as enduringly successful. These were High Jinks (1913), Katinka (1915) and You're in Love (1917). He also contributed songs to a musical in 1915 entitled The Peasant Girl. Trentini was named as a co-respondent in Friml's divorce from his first wife in 1915, and evidence was introduced that they were having an affair. Another show, Sometime, written with Rida Johnson Young and starring Ed Wynn and Mae West, ran well on Broadway in 1918-1919.

what was their greatest accomplishment mentioned in the article?

After The Firefly, Friml produced three more operettas that each had longer runs than The Firefly,

Rudolf Friml, The Firefly and early operettas: One of the most popular theatrical forms in the early decades of the 20th century in America was the operetta, and its most famous composer was Irish-born Victor Herbert. It was announced in 1912 that operetta diva Emma Trentini would be starring in a new operetta on Broadway by Herbert with lyricist Otto Harbach entitled The Firefly. Shortly before the writing of the operetta, Trentini appeared in a special performance of Herbert's Naughty Marietta conducted by Herbert himself. When Trentini refused to sing "Italian Street Song" for the encore, an enraged Herbert stormed out of the orchestra pit refusing any further work with Trentini. Arthur Hammerstein, the operetta's sponsor, frantically began to search for another composer. Not finding any other theatre composer who could compose as well as Herbert, Hammerstein settled on the almost unknown Friml because of his classical training. After a month of work, Friml produced the score for what would be his first theatrical success. After tryouts in Syracuse, New York, The Firefly opened at the Lyric Theatre on December 2, 1912 to a warm reception by both the audience and the critics. The production moved to the Casino Theatre after Christmas, where it ran until March 15, 1913, for a total of 120 performances. After The Firefly, Friml produced three more operettas that each had longer runs than The Firefly, although they are not as enduringly successful. These were High Jinks (1913), Katinka (1915) and You're in Love (1917). He also contributed songs to a musical in 1915 entitled The Peasant Girl. Trentini was named as a co-respondent in Friml's divorce from his first wife in 1915, and evidence was introduced that they were having an affair. Another show, Sometime, written with Rida Johnson Young and starring Ed Wynn and Mae West, ran well on Broadway in 1918-1919.

which were they?

These were High Jinks (1913), Katinka (1915) and You're in Love (1917).

Rudolf Friml, Friml's greatest successes: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time. After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923. Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.

What was his greatest piece he released?

In 1924, he wrote Rose-Marie.

Rudolf Friml, Friml's greatest successes: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time. After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923. Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.

What was it about?

This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide,

Rudolf Friml, Friml's greatest successes: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time. After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923. Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.

How did it do?

was a hit worldwide,

Rudolf Friml, Friml's greatest successes: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time. After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923. Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.

Was there another great release?

"The Mounties" and "Indian Love Call".

Rudolf Friml, Friml's greatest successes: Friml wrote his most famous operettas in the 1920s. In 1924, he wrote Rose-Marie. This operetta, on which Friml collaborated with lyricists Oscar Hammerstein II and Otto Harbach and co-composer Herbert Stothart, was a hit worldwide, and a few of the songs from it also became hits including "The Mounties" and "Indian Love Call". The use of murder as part of the plot was ground-breaking among operettas and musical theatre pieces at the time. After Rose-Marie's success came two other hit operettas, The Vagabond King in 1925, with lyrics by Brian Hooker and William H. Post, and The Three Musketeers in 1928, with lyrics by P. G. Wodehouse and Clifford Grey, based on Alexandre Dumas's famous swashbuckling novel. In addition, Friml contributed to the Ziegfeld Follies of 1921 and 1923. Friml wrote music for many films during the 1930s, often songs adapted from previous work. The Vagabond King, Rose-Marie and The Firefly were all made into films and included at least some of Friml's music. Oddly enough, his operetta version of The Three Musketeers was never filmed, despite the fact that the novel itself has been filmed many times. In 1930, he wrote a new operetta score for film, The Lottery Bride. Like his contemporary, Ivor Novello, Friml was sometimes ridiculed for the sentimental and insubstantial nature of his compositions and was often called trite. Friml was also criticized for the old-fashioned, Old World sentiments found in his works. Friml's last stage musical was Music Hath Charms in 1934. During the 1930s, Friml's music fell out of fashion on Broadway and in Hollywood.

When was this released?

1924,

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

What is Biograph Studios?

in a film to be produced by the Biograph Studios under the direction of D.W. Griffith.

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

What film was Florence Lawrence in while with Biograph Studios?

Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw.

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

Was Florence Lawrence successful with Biograph Studios?

She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

what did Florence Lawrence play in the "Jones" series?

in which she played Mrs. Jones in around a dozen films. More popular still were the

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

What happened as result of Florence Lawrence being in the Jones films?

dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

What did Florence Lawrence play with John R. Cumpson?

The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection.

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

Is there anything else I should know about Florence Lawrence during this time?

Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director.

Florence Lawrence, Biograph Studios: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week. After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate. She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

Where work came as a result of them writing to the Essanay Company?

Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

how did her career with this company begin?

" Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP).

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

what were her achievements in this company

the "star system" was born

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

what more is know about the star system?

publicity stunt by starting a rumor

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

did this publicity stunt lead to any positive consequenxe?

before long, Florence Lawrence became a household name.

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

did this popularity lead to greater success?

However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct.

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

did she demand a wage increase?

her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct.

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

what else she did for this IMP?

Lawrence and Solter worked for IMP for eleven months, making fifty films. After

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

what happened after that?

they went on vacation in Europe.

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

what followed this vacation work wise?

When they returned to the United States, they joined a film company headed

Florence Lawrence, Independent Moving Pictures Company: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

headed by whom?

headed by Siegmund Lubin, described

Amílcar Cabral, War for independence: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.

Which year Cabral prepared for war for independence?

From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government,

Amílcar Cabral, War for independence: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.

How did he plan his movement?

as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau.

Amílcar Cabral, War for independence: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.

What he did for the war for independence?

he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe,

Amílcar Cabral, War for independence: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.

Did he peruse more strategies?

When not fighting, PAIGC soldiers would till and plow the fields alongside the local population.

Amílcar Cabral, War for independence: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.

Are there any other interesting aspects about this article?

Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills

Amílcar Cabral, War for independence: From 1963 to his assassination in 1973, Cabral led the PAIGC's guerrilla movement (in Portuguese Guinea) against the Portuguese government, which evolved into one of the most successful wars of independence in modern African history. The goal of the conflict was to attain independence for both Portuguese Guinea and Cape Verde. Over the course of the conflict, as the movement captured territory from the Portuguese, Cabral became the de facto leader of a large portion of what became Guinea-Bissau. In preparation for the independence war, Cabral set up training camps in Ghana with the permission of Kwame Nkrumah. Cabral trained his lieutenants through various techniques, including mock conversations to provide them with effective communication skills that would aid their efforts to mobilize Guinean tribal chiefs to support the PAIGC. Cabral realized the war effort could be sustained only if his troops could be fed and taught to live off the land alongside the larger populace. Being an agronomist, he taught his troops to teach local crop growers better farming techniques, so that they could increase productivity and be able to feed their own family and tribe, as well as the soldiers enlisted in the PAIGC's military wing. When not fighting, PAIGC soldiers would till and plow the fields alongside the local population. Cabral and the PAIGC also set up a trade-and-barter bazaar system that moved around the country and made staple goods available to the countryside at prices lower than that of colonial store owners. During the war, Cabral also set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace, relying on medical supplies garnered from the USSR and Sweden. The bazaars and triage stations were at first stationary, until they came under frequent attack from Portuguese regime forces.

What other strategies he took?

set up a roving hospital and triage station to give medical care to wounded PAIGC soldiers and quality-of-life care to the larger populace,

Skinny Puppy, Live performances: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

what was the 1st life performance

spanned their Head Trauma (1987-1988),

Skinny Puppy, Live performances: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

what year did they tour

1992

Skinny Puppy, Live performances: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

what type of music do they make

Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music,

Skinny Puppy, Live performances: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

who did they have connections with in the music world

Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel,

Skinny Puppy, Live performances: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

who is someone they made music with

They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

Skinny Puppy, Live performances: Skinny Puppy is noted for theatrical and controversial live performances which blend performance art with music, especially in an ambitious period that spanned their Head Trauma (1987-1988), VIVIsectVI (1988), Too Dark Park (1990), and Last Rights (1992) tours. Ogre has been critical of the bands early performances, telling Spin magazine in 1992 that "I would do things on stage that would blow-they just wouldn't work". Live performances involved periods of musical improvisation, film projections, and elaborate stage props and machines, many of which are designed and built by Ogre himself. While discussing Skinny Puppy's performances, Ogre once remarked that "our shows combine images with theater. It works better than just coming out and doing a horror magic routine". On-stage theatrics included Ogre being suspended from racks and cables, play with a hangman's noose, Key cutting steel with an angle grinder, and mock executions of Ogre and George H.W. Bush. Following the 2004 Presidential Election in the United States, promoters began to ask the band to refrain from using fake blood during their performances. This reaction was prompted by the performance of a mock execution on stage, during which Ogre was decapitated by actors dressed as then U.S. President George W. Bush and Vice President Dick Cheney. The band was also asked by Samsung (who had been asked by Ogre to sponsor the band with a large flat screen) to "not insult the president" while performing on stage. In a 1987 television interview with Kim Clarke Champniss, Key explained that while Ogre follows a "rough guideline" during a live performance, a majority of his on-stage theatrics are thought up of spontaneously. Key told Champniss that Ogre's demeanor on stage could "range from just a sort of laid back kind of lurking to a rampant psycho". Ogre once remarked that touring was, for himself, like "dating hydrogen peroxide", referencing the numerous injuries which he would acquire over the course of touring. Though Ogre and Key have remained the only constant members of Skinny Puppy's live act since the death of Dwayne Goettel, several other musicians have been hired to accompany the pair since 2004. They include drummer Justin Bennett, guitarist William Morrison, and guitarist Matthew Setzer.

what time period did they begin to get big

1990

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

What were their greatest influencer?

industrial and electronic music

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

Did they have any person who influenced them?

Nine Inch Nails

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

How did they influence them?

on her music,

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

Did she preform with anyone?

DJ Josh Wink,

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

Are there any other interesting aspects about this article?

contributions from a wide array of musicians

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

Can you tell me more about the contributions?

Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right.

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

Where there any other influencers?

KMFDM

Skinny Puppy, Influence and legacy: Despite little mainstream airplay, several Skinny Puppy releases have charted in North America and Europe, and their influence on industrial and electronic music is considerable. Widely considered originators of a unique sound and live performance style, Skinny Puppy are also known as pioneers of industrial rock and electro-industrial, genres in which they may be seen to have spawned "a litter of like-minded bands". Their influence extends from independent acts like Tin Omen, to industrial rock stars Nine Inch Nails, who opened for Skinny Puppy for a short time on their 1988 North American tour. Trent Reznor also acknowledged that Skinny Puppy's "Dig It" inspired the very first Nine Inch Nails track written, "Down in It". Canadian synthpop artist Grimes includes Skinny Puppy as an influence on her music, having grown up in Vancouver's industrial music scene. Sara Taylor of the EBM group Youth Code has said that the song "Worlock" was "one of the most influential songs" she had ever heard. Other artists that have been impacted by Skinny Puppy's music include Marilyn Manson, Chester Bennington, 3Teeth, Foals vocalist Yannis Philippakis, Al Jourgensen, X Marks the Pedwalk, Wumpscut, Haujobb, Orgy, Filter, Front Line Assembly, Orphx, Crystal Castles, and Mayhem vocalist Attila Csihar. The band inspired a tribute album, Hymns of the Worlock: A Tribute to Skinny Puppy published by Cleopatra Records, which features groups such as Crocodile Shop and The Electric Hellfire Club. Skinny Puppy's remix album Remix Dystemper, published by Nettwerk Productions, includes contributions from a wide array of musicians such as electronic music DJ Josh Wink, Guru, KMFDM, Deftones, and former Nine Inch Nails drummer Chris Vrenna. Vrenna's solo project, Tweaker, opened for Skinny Puppy during their 2004 North American tour. Danny Carey from Tool and Wayne Static of Static-X provided drums and backup vocals, respectively, for the song "Use Less" from The Greater Wrong of the Right. Ogre worked with KMFDM on several occasions, touring with them in 1997 and providing vocals on the song "Torture" from their album Symbols (the song also features production from Dave Ogilvie) as well as for the songs "That's All" and "Full Worm Garden" from 1999's Adios. Skinny Puppy also provided a remix for the Motley Crue song "Hooligan's Holiday"; Nikki Sixx reported that the band "just dumped the whole song in the computer and went off". Skinny Puppy's music has been included in the soundtracks of films such as Bad Influence, An American Werewolf in Paris, The Blair Witch Project, Underworld, and Saw II, among others. The group was given a brief role as the "gang of goons" in the 1995 dark comedy film The Doom Generation. The 1996 Video Game Descent II included original music from Ogre and Mark Walk, while the 2014 PlayStation exclusive LittleBigPlanet 3 featured the song "Rodent" from the album Rabies. While discussing the possibility of Nine Inch Nails being inducted into the Rock and Roll Hall of Fame, Richard Patrick of the band Filter remarked "what about Skinny Puppy?", going on to say that while Nine Inch Nails is the more famous of the two, Skinny Puppy were one of the first groups to craft "scary and mean" industrial music.

what is KMFDM?

Ogre worked with KMFDM on several occasions, touring with them

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

when was it created?

(1959),

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

how was it created?

), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band"

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

what genre was that?

country music

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

what was special about the conception?

meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

test of social what?

social tolerance among listeners amid racial distinctions of country and R&B.

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

what label did he go with?

his own Tangerine label,

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

did he produce an album?

distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives.

Modern Sounds in Country and Western Music, Conception: Following his blues fusion with gospel and jazz influences on his earlier Atlantic material, which had brought him much fame and controversy, Charles sought to experiment with country music. As noted by himself in the liner notes for What'd I Say (1959), Charles was influenced by the genre in his youth, stating that he "used to play piano in a hillbilly band" and that he believed that he "could do a good job with the right hillbilly song today." At Atlantic, he attempted to incorporate this style and influence with his cover of country singer Hank Snow's "I'm Movin' On". Charles later said about the song, "When I heard Hank Snow sing 'Moving On', I loved it. And the lyrics. Keep in mind, I'm a singer, so I like lyrics. Those lyrics are great, so that's what made me want to do it." The "I'm Movin' On" sessions were his last for Atlantic. Charles's recording of his acclaimed studio effort The Genius of Ray Charles (1959) brought him closer to expressing his jazz and pop crossover ambitions. Described by one music critic as "the most important of his albums for Atlantic", the record was the first to introduce Charles's musical approach of blending his brassy R&B sound with the more middle of the road, pop-oriented style, while performing in the presence of a big band ensemble. Recording of the album, as well his ABC-Paramount debut, The Genius Hits the Road (1960), a collection of place-name songs devoted to parts of the United States, expanded on Charles's thematic and conceptually-organized approach to albums rather than commercially successful singles production. Inspired by this approach and his recording of "I'm Movin' On", Charles originally made plans for a single-less concept album. When Charles had announced that he wanted to work on an album of country music in 1961, during a period of racial segregation and tension in the United States, he received generally negative commentary and feedback from his peers, including fellow R&B musicians and ABC-Paramount executives. The country album concept, however, meant more to Charles as a test of his record label's faith in him and respect for his artistic freedom than as a test of social tolerance among listeners amid racial distinctions of country and R&B. Fueled by his esteem for creative control, Charles pitched the idea of a country album to ABC representatives. Following the successful lobby of the concept and a contract renewal in early 1962, which was linked to the launching of his own Tangerine label, Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.

Are there any other interesting aspects about this article?

Charles prepared his band for the recording sessions that produced Modern Sounds in Country and Western Music.