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Camilo Sesto

Camilo Blanes Cortés, known professionally as Camilo Sesto as El Rey del Amor, was a Spanish singer and music producer. He won a contest in a Madrid television show, he played a part in the Spanish filming of Shakespeare's Hamlet. He teamed up with singer and producer Juan Pardo, but success would come on its own accord, with his own music works. By the time of his death, Sesto had sold over 180 million albums worldwide, not counting the figures of its production and composition to other artists, could exceed 300 million; as a composer, Sesto wrote songs for artists such as Ángela Carrasco, Miguel Bosé, Lucía Méndez, Charytín Goyco and José José, among others. Produced and translated the lyrics to Spanish, of an album from the popular Australian rock band Air Supply. Throughout his career, he remained one of the most influential pioneer artists of pop and rock in Spanish, that would inspire many newer acts in the Latin music world as well as across Europe, the Americas and Asia; the mid-sixties marked the beginning of Sesto's career.

After editing his first record with his band Los Dayson, in 1965 they traveled to Madrid to appear on Televisión Española's Salto a la Fama. In 1966, Sesto joined Los Botines, whose music was influenced by The Beatles. In 1967, the band appeared in the film Los chicos del Preu. In 1970, Sesto recorded various singles like: "Llegará el Verano" and "Sin Dirección", with the artistic name "Camilo Sexto", he became his own producer, as well as the producer of other artists. His solo career started in 1970, the same year he won the "Revelación" price, at the "Olés de la Canción" festival. After meeting producer, Juan Pardo in 1971, he launched a solo career under the stage name Camilo Sesto, he appeared on Spanish TV's program "Buenas Noches" singing "Algo de Mí". Algo de Mi reached the Number 1 slot in Spain and most of the Spanish speaking world, it maintained that top position for a whole year in most of Latin-America. In 1973, he represented Spain with the song "Algo Más" in the second edition of the OTI Festival, held in the Brazilian city of Belo Horizonte.

In 1974, his success as a pop singer continued with record sales escalating rapidly. His concerts took him around the world with such songs as "¿Quieres ser mi amante?", "Llueve sobre mojado", "Yo soy así", "Isabel", "Déjame participar en tu juego" and "Mienteme". "¿Quieres ser mi amante?" received a Grammy nomination for Best Latin Recording in 1976. He has received several platinum certifications. On 6 November 1975, Sesto starred in the role of Jesus on the Spanish version/adaptation by Jaime Azpilicueta of the rock opera Jesus Christ Superstar at the Alcalá-Palace Theatre in Madrid; the production was costly as he financed it entirely. His work was received excellent criticism; the public filled shows were extended to four months. Both in terms of interpretation and musically speaking, Sesto's show was considered of great quality. Andrew Lloyd Webber admitted that this was the only production that could equal the original American version. After starring in the Spanish version of "Jesus Christ Superstar" catapults him as a superstar, Sesto continued gaining fame as a singer and composer.

Notable hits from Sesto include "Vivir Así es Morir de Amor", "Jamás", "Perdóname", "Melina", "Donde Estes, Con Quien Estes". Sesto went through a retirement in 1987 until he returned to the music scene in 1991; that year, he released A Voluntad del Cielo. The album's lead single, "Amor Mío, ¿Qué Me Has Hecho?", reached number one on the Billboard Hot Latin Songs chart in the United States. The track was nominated for Pop Song of the Year at the Lo Nuestro Awards of 1992 and the American Society of Composers and Publishers Latin Awards of 1993, respectively, he survived a liver transplant in August 2001 and released an album, two years later. Sesto returned to the stage in 2004 at the Viña del Mar International Song Festival in Chile. Sesto won many awards at Viña del Mar in 2004, his last musical work was the singing of Bujalance's football team's hymn. In 2008, Camilo announced his retirement from the studio, in September 2009 he announced that he would go on a farewell tour, he would tour the Americas for the next two years.

In October 2010, he gave his last two concerts in Madrid, which were released as his first "live" album. A live DVD called. In 2011, he was awarded the "Highest Hispanic Pride" medal in Las Vegas. U. S; that day was proclaimed. In 2011, there were rumours of another Sesto "farewell tour", that some news media called "La Gira del Adiós". Tour dates were made, radio stations spoke about it, tickets were sold, etc. There were many convincing ads in local newspapers, magazines. However, Sesto communicated that this was nothing but a "hoax" to get people to buy fake tickets for a tour that he himself was not aware of. Many radio stations and music media threatened to take legal action against the singer if he would not "meet with the responsibility", Sesto was forced to once again come back into the media to try to clear his name; the courts ruled in favour of some institutions that did sue. Sesto died on 8 September 2019 at a Madrid hospital from kidney failure, eight days shy of his 73rd birthday, he was due to release a new album on 13 September, as well as embark in a tour in the United States the following month.

Spain's acting Prime M

Masuda Funai

Masuda, Eifert & Mitchell, Ltd. is a U. S. law firm headquartered in Chicago, with additional offices in suburban Chicago and Los Angeles, California. Masuda Funai was founded in 1929 by Thomas Masuda. Masuda was a general practitioner, with significant ties to the Japanese community and government of Japan, having been honored with Order of the Sacred Treasure Fourth Class in 1981 known as "The Order of the Sacred Treasure, Gold Rays with Rosette", by the country of Japan. Masaru Funai concentrated his practice on advising foreign enterprises entering the U. S. market on all phases of business commencement and he was honored with The Fourth Class of the Order of the Sacred Treasure by the Japanese government in 2001. The firm’s other namesakes, Helmut Eifert and James Mitchell, joined the firm in the 1960s; the firm consisted of 13 attorneys and one office in 1981 and has grown into a national law practice with three offices and more than 40 attorneys. Masuda Funai has a broad range of practice areas, including corporate and acquisitions, commercial and trade, employment and benefits, immigration and real estate practices.

Dayne O. Kono – member of the 2010 Japanese American Leadership Delegation Kathleen M. Gaber – former attorney for the Department of Justice and Naturalization Service Lawrence Flood – current associate judge for the Circuit Court of Cook County, Illinois Masuda Funai became a member of the Alliott Group in 2012. Alliott Group is an international law firm network. Homepage http://www.masudafunai.com/

Sweetness and light

Sweetness and light is an English idiom that can be used in common speech, either as statement of personal happy consciousness, or as literal report on another person. Depending upon sense-of-humour, some may use the phrase with mild irony. For example: The two had been fighting for a month, but around others it was all sweetness and light. P. G. Wodehouse, esteemed humorous writer employed the phrase sometimes with a slight nod to the phrase's dual-edge. However, "sweetness and light" had a special use in literary and cultural criticism meaning "pleasing and instructive", which in classical theory was considered to be the aim and justification of poetry. Jonathan Swift first used the phrase in his mock-heroic prose satire, "The Battle of the Books", a defense of Classical learning, which he published as a prolegomenon to his A Tale of a Tub, it gained widespread currency in the Victorian era, when English poet and essayist Matthew Arnold picked it up as the title of the first section of his 1869 book Culture and Anarchy: An Essay in Political and Social Criticism, where "sweetness and light" stands for beauty and intelligence, the two key components of an excellent culture.

"The Battle of the Books" spoofed the famous seventeenth-century Quarrel of the Ancients and the Moderns, a controversy that had raged first in France and less intensely, in England, about, better the Ancient or Modern learning. Should people still model their writings and artistic productions on Greek and Latin authors? Or should they study the, who used living vernacular languages and produced practical inventions, new artistic genres that could be read by everyone. In On Ancient and Modern Learning, Swift's patron, the urbane Sir William Temple, had weighed in on the losing side, that of the Ancients, repeating the famous paradox used by Newton that we moderns see further only because we are dwarves standing on the shoulders of giants. Swift has the books come to life and step down from the library shelves to stage a mock-Homeric battle, while the goddess Criticism, a hideous hag, intervenes on the side of her beloved "Moderns" in the manner of the Olympians of yore. Midway through the story, Aesop, an ancient book, stumbles on a debate between a spider.

The spider claims that the bee creates nothing of its own, whereas the spider is an original creator who "spins and spits wholly from himself, scorns to own any obligation or assistance from without" and his web is a triumph of architecture and mathematics. The bee counters that the spider's web is spun from digested flies and other dirt and that all the spider contributes is his poison. Bees range far and wide to search out the best flowers, which they do not harm, while the spider only moves four inches and feeds on insects and other "vermin of the age". Aesop judges the argument; the ancient writers, Aesop says, are like bees who fill their "hives with honey and wax, thus furnishing mankind with the two noblest of things, which are sweetness and light." The Ancients "are content with the bee to pretend to nothing of own, beyond…flights and…language." That is, imitation of Ancient authors results in works filled with delight and moral wisdom. Writers, notably Matthew Arnold used the phrase "sweetness and light", to designate the positive effects of a humanistic culture in arts and letters.

The Victorian poet and essayist Matthew Arnold, an inspector of schools, popularized Swift's phrase as the theme and title of the first chapter of his celebrated book of cultural criticism and Anarchy. Arnold contends that the most valuable aspect of civilization is its ability to confer "sweetness and light," and he contrasts this to the moralism and fanaticism of some of the would-be educators and materialistic improvers of mankind. For Arnold, sweetness is beauty, light is intelligence – and together they make up "the essential character of human perfection," which had its fullest development, he believed, among the ancient Greeks. Arnold criticizes the religious and utilitarian reformers of his own day for wanting only to improve humanity's moral and material condition, or for focusing "solely on the scientific passion for knowing," while neglecting the human need for beauty and intelligence, which comes about through lifelong self-cultivation. Arnold concedes that the Greeks may have neglected the moral and material, but:Greece did not err in having the idea of beauty and harmony and complete human perfection so present and paramount.

And we, because we have braced the moral fibre, are not on that account in the right way, if at the same time the idea of beauty and complete human perfection is wanting or misapprehended amongst us. And when we rely as we do on our religious organisations, which in themselves do not and cannot give us this idea, think we have done enough if we make them spread and prevail I say, we fall into our common fault of overvaluing machinery; the phrase came into regular use as an English language idiom after the publication of Arnold's essay. In 1977, architectural historian Mark Girouard used the title Sweetness and Light: The "Queen Anne" Movement, 1860–1900, for his book chronicling the comfortably eclectic architectural style of the middle-class brick country houses that late-nineteenth-century British artists and writers built for themselves. Here "sweetness and light" implied that taste and beauty need not be restricte