Luis Eduardo Aute Gutiérrez is a Spanish singer, film director, sculptor and painter. Luis Eduardo Aute was born in Manila on 13 September 1943, his father, a Catalan married a Spanish Filipina. In his childhood, Aute studied at the De La Salle School, where he learned English and Tagalog, used within his family. At an early age, he showed unusual ability as a sketcher. Another childhood passion was cinema. At the age of eight, he made his first trip to Spain. In Madrid, he sang for the first time in public with the Hotel Aveneda orchestra, interpreting the song "Las hojas muertas". At age 9 he watched On the Waterfront, a movie that had a powerful influence on him and inspired him to write his first poems in English. Another cinematic influence at that age was the movie Niagara, where he discovered the eroticism and sensuality of Marilyn Monroe. In 1954, after a short stay in Barcelona, Aute returned definitively to Madrid, where he studied at the Colegio Nuestra Señora de las Maravillas. At 15, with his new guitar received as a birthday present, he performed at an end of school party, as part of a trio with two friends.
Although he enjoyed music, art remained his primary passion. During these early years he was influenced by German Expressionism and dedicated most of his time to painting, winning a silver medal in a Spanish Juvenile Art Contest. Aute planned to be an architect but left school immediately to pursue a variety of career paths—music and film, he wrote screenplays and several short stories. Aute spent more than a year in France, working in film. One of his first jobs was working as a translator and second assistant for the film Cleopatra; when he returned to Spain, he began writing songs for other artists like Massiel. His song "Alleluia Number One" became a huge hit in the United States when recorded in the United States by Ed Ames as "Who Will Answer". Although his friends and colleagues encouraged him to record his own songs, Aute refused, saying he didn't enjoy performing publicly, he pushed past his shyness and began a successful career with singles like "Don Ramon" and "Made in Spain". His first album was "Dialogues of Rodrigo and Ximena" in 1968.
By the 1970s, he was creating soundtracks for films directed by Jaime Chavarri, Luis Garcia Berlanga, Fenando Fernan Gomez, Fernando Mendez, others. In 1977, Aute performed in his first large public concert in Spain. Invited by the Cuban government to participate in the World Festival of Youth in Havana, Aute contracted tuberculosis and spent five months in Cuba recovering; this enforced downtime cemented his friendship with a Cuban musician, Silvio Rodriguez, whom he shared a concert stage with. That concert, Mano a Mano, became the basis of an international best-selling album. Aute had his first individual exhibit in the gallery Alcon de Madrid in 1960, he was just sixteen. Two years he had his second exhibit in Madrid's Gallery Quixote. By 1964, his work was being sold in the United States at the Juarez Gallery in Florida. In 1966, he was selected to participate in the Nona Biennial de São Paulo in Brazil, where he brought three large pieces. During a brief break with music, he designed. In 1974, Aute won first prize for painting in the XXVIII Mostra Michetti in Italy.
His work was featured in museums all over Europe. Aute's interest in film showed up early in his life. In 1961, he created a short film. In 1970, he wrote and directed another short film, Minutos despues, selected for the II festival de Cine de Autor de Benalmadena. In 1974 he directed A flor de piel, his last short film for over ten years. Although he'd written poetry in both English and Spanish as a youth, Aute made a big splash in 1970 when he published a poem and drawing in Poesia 70 that managed to get the magazine shut down in conservative, Franco-controlled Spain. In 1975, he published "Mathematics of the Mirror" and followed it up a year with "Songs and Poems." In 1978, he published Liturgy of Disorder. In 1980, Aute began a long musical association with Luis Mendo. In 1983, Aute performed in a concert, "Entre Amigos", with Silvio Rodriguez, Pablo Milanes, Teddy Bautista, Joan Manuel Serrat; the concert, held in the Salamanca Theater in Madrid, was recorded live. The prize-winning album resulting from the concert was a huge hit in both Latin America.
In 1984, he released "Cuerpo a cuerpo", the first time he combined his art thematically. In 1992, "Slowly" climbed the charts and was followed one year by "Mano a Mano" with Silvio Rodriguez. In the 1980s, Aute's work was exhibited in shows all over Europe. In 1987, he combined an album, "Templo", with an art exhibit, he followed this pattern with a successful tour of Latin America and Spain with an exhibit called Ad Libidum in the mid 1990s. In 1986, Aute directed El muro de las lamentaciones. In 1980, he put out a revised edition of Poems. Six years he released "Temple of flesh". Along the way, he developed a type of poetry he calls "poemigas", short poems that feature plays on words, he developed a series called Animal, which combined poetry and music. In 2000, a number of Aute's peers produced a tribute album called "Mira que eres canalla, Aute" as a tribute to him. Fifteen years another gen
Zubir Said was a Singaporean composer from the Minangkabau highlands of Indonesia who composed the national anthem of Singapore, "Majulah Singapura". A self-taught musician, Zubir worked as a score arranger and songwriter for Cathay-Keris Film Productions for 12 years, composing numerous songs for the company's Malay films, he is believed to have written about 1,500 songs, with less than 10% of them recorded. It has been said that Zubir was viewed by many as a composer with a "true Malay soul", as his songs were interwoven with historical messages and Malay truisms, that he and his Minangkabau contemporaries awoke a wave of national consciousness in the 1950s; the eldest child in a family of three boys and five girls, Zubir Said was born on 22 July 1907 in Bukittinggi in the Minangkabau highlands of West Sumatra, Indonesia. His mother died, he had no interest in academic studies. His involvement with music started. A primary-school classmate subsequently taught him how to make and play a flute, in middle school, he learned to play the guitar and drums from fellow students and the keroncong group he was involved in.
In 1928 at the age of 21, Zubir went to Singapore to make a living as a musician, taking up the suggestion of a sailor friend who had described the island as a place of "glittering lights, kopi susu and butter". This was done in the face of objections from his village chieftain father, Mohamad Said bin Sanang, who believed music to be against religion. Zubir's first job was as a musician with a bangsawan or Malay opera troupe, he became the troupe's bandleader. Thereafter, in 1936, he joined the recording company His Master's Voice. Zubir went to Java to marry Tarminah Kario Wikromo, a keroncong singer, in 1938. Coming back to Singapore in 1947, Zubir worked as a part-time photographer with the Utusan Melayu newspaper while composing and performing music and songs. In 1949 he took up the post of orchestra conductor at Shaw Brothers' Malay Film Production, in 1952 he joined Cathay-Keris Film Productions as a score arranger and songwriter for the company's Malay films, including Sumpah Pontianak and Chuchu Datuk Merah.
In 1957, he received his first public recognition when his songs were performed at the Victoria Theatre. Singapore a British colony, had been conferred city status by a royal charter from King George VI in 1951. In 1958, the City Council of Singapore approached Zubir to compose a song for the city to be titled "Majulah Singapura", a motto to be displayed in the Victoria Theatre after its renovation. Zubir's song, "Majulah Singapura", was first performed by the Singapore Chamber Ensemble during the grand finale of a concert staged in the Victoria Theatre on 6 September 1958 to celebrate its official reopening; when Singapore attained self-government in 1959, the Government felt that a national anthem was needed to unite the different races in Singapore. It decided that the City Council's song, popular, would serve this purpose. After some revisions were made to the song, it was adopted by the Legislative Assembly on 11 November 1959, on 30 November the Singapore State Arms and Flag and National Anthem Ordinance 1959 was passed.
This statute regulated the use and display of the State Arms and State Flag and the performance of the National Anthem. "Majulah Singapura" was presented to the nation on 3 December at the launch of "Loyalty Week", replacing the colonial anthem "God Save the Queen". After Singapore's full independence from Malaysia on 9 August 1965, "Majulah Singapura" was formally adopted as the Republic's national anthem. In a 1984 oral history interview, to sum up his philosophy when composing the anthem, Zubir cited the Malay proverb "Di mana bumi dipijak, di situ langit dijunjung". In 1962, Zubir's songs for the movie Dang Anom won an award at the Ninth Asian Film Festival in Seoul, South Korea, he continued working for Cathay-Keris Film Productions until he retired in 1964, composing numerous songs for Malay films. He gave music lessons, had other music artists visiting him to talk about music and asking for advice, his third and youngest daughter Puan Sri Dr. Rohana Zubir, a retired lecturer with the University of Malaya, recalled how the family home in Singapore was always filled with music.
He was the heart of the conversation enthused and willing to share pearls of wisdom so that others could benefit from his work. This generosity extended to other areas of his life, he helped his own family in Sumatra and families in Singapore he had "adopted", sending them medicine and other items with what little he could afford though his own family was not well off at the time. Zubir said, he believed that money was essential for his survival and to look after the family, that the money he earned from giving music lessons and his compositions for the film world sufficed. He valued honesty and sincerity in his work and placed importance on purity and originality, whether in his music, lyrics or style of singing, he stopped composing songs for the film company when he was upset about the management's decision to cut production costs by borrowing existing music to be used for dubbing on to the background music of some films. Zubir died at the age of 80 on 16 November 1987 at Joo Chiat Place in Singapore, survived by four daughters and a son.
Despite his legacy, Zubi
Frederick Charles Brayton known as Chuck Brayton or Bobo Brayton, was an American college baseball head coach. He is the winningest coach in school history, with a record of 1,162 wins, 523 losses and eight ties—the fourth-best total in NCAA history at the time he retired, his Cougar teams won 21 conference titles, including 11 in a row from 1970 to 1980. He led the Cougars to the College World Series in 1965 and 1976, was the fifth baseball head coach in NCAA history to exceed a thousand wins. Win number 1,000 came in 1990 in his 29th season, at home on April 11, he coached four more years. Brayton was a three-sport varsity athlete at Washington State and played shortstop in 1944 for interim coach Jack Friel and from 1946 to 1948 for Buck Bailey; as an incoming freshman in September 1943, Brayton hitchhiked across the state to Pullman from Skagit County in northwestern Washington. After his freshman year, he served in the Army Air Forces, his #14 jersey was retired by the school in 2003, he was inducted into the National College Baseball Hall of Fame in 2007.
Bailey–Brayton Field, the Cougars' home stadium since 1980, is named for Brayton and his predecessor, Buck Bailey. When the old field was displaced by the new Mooberry track, Brayton constructed the new stadium on a budget, using items salvaged from Sick's Stadium in Seattle, as well as donated materials and volunteer labor. "Buck Bailey Field," Brayton's name joined his mentor's in January 2000. Prior to coaching at WSU, Brayton was the head coach for over a decade at Yakima Valley Junior College, its head football coach for five seasons, he won ten championships. While at Yakima, a line drive nearly killed he was hospitalized for a month. In declining health in his years, Brayton died at age 89 at his Pullman home in 2015, was buried at the city cemetery. List of college baseball coaches with 1,100 wins College Baseball Hall of Fame website Video of induction speech Yakima Valley Community College Athletics Hall of Fame Baseball Reference Bullpen Baseball Essentials – Remembering Chuck "Bobo" Brayton Obituary Chuck Brayton at Find a Grave
Juntas Españolas was a far-right political party in Spain created in 1983 after a call was issued through the defunct newspaper El Alcázar by the newspaper's director, Antonio Izquierdo. The group followed the failure and self-dissolution of the Fuerza Nueva of Blas Piñar; the group intended to renew and modernize the message of the far-right in Spain, abandoning some of the most reactionary positions. The group dissolved and integrated with the Alianza Democrática Nacional, which became Democracia Nacional. Rafael Ángel Nieto-Aliseda Causo. Aportes: Revista de historia contemporánea, ISSN 0213-5868, ISSN-e 2386-4850, Year nº 29, Nº 86, 2014, pages 177-206
Larry Cordle is an American country and bluegrass singer-songwriter. Cordle is most famous for his song "Murder on Music Row", recorded by George Strait and Alan Jackson and received the Country Music Association Award for Vocal Event of the Year, CMA nomination for Song of the Year, in 2000. Cordle has written songs for Garth Brooks, Mountain Heart, Ricky Skaggs, Loretta Lynn, George Strait, Trisha Yearwood, Kathy Mattea, Diamond Rio and Bradley Walker. Cordle has a career of his own, with his band Lonesome Standard Time, he founded the band in 1990 with his friend Glen Duncan. He received a Grammy nomination for the group's debut album, self-titled, in 1992. In 2005 Cordle's band played at the Gettysburg Bluegrass Festival. On his album 2007 "Took Up and Put Down", his sings "The First Train Robbery"; the Song was written by Chris Stuart Cordle performed on two bluegrass tribute albums for the British rock band the Moody Blues: Moody Bluegrass: A Nashville Tribute to the Moody Blues, Moody Bluegrass TWO...
Much Love. Along with friends Carl Jackson and Jerry Salley, the trio recorded the song “You’re Running Wild” on the Louvin Brothers tribute on Universal South Records, which features numerous country music stars singing songs made famous by the legendary duo. Entitled Livin', Lovin', Losin': Songs of the Louvin Brothers, this project won the 2004 Grammy for Country Album Of The Year; the trio performs the hits they wrote for others. Official website Allmusic profile
Pan-American Conference of Women occurred in Baltimore, Maryland, US in 1922. It was held in connection with the third annual convention of the National League of Women Voters in Baltimore on April 20 to 29, 1922. Cooperating with the League in bringing the Pan American Women's conference to the United States were the US Secretary of State, Charles Evans Hughes, the US Secretary of Commerce, Herbert Hoover, Dr. Leo Stanton Rowe, Director General of the Pan American Union; the conference was meant to strengthen and carry a step forward the initiative undertaken at the Second Pan American Scientific Congress, when a woman's auxiliary committee was formed to develop closer cooperation between the women of the American continent. The countries who accepted the invitation to be present at the Conference and who sent delegates, were: Argentine, Brazil, Chili, Costa Rica, Dominican Republic, Guatemala, Honduras, Nicaragua, Paraguay, Philippines, Puerto Rico, United States and Venezuela; the foreign delegates who attended the Congress were chosen and were not political appointments but represented the most progressive and brilliant women in their countries.
The foreign delegates represented two Provinces of Canada. There were in addition 23 delegates from foreign organizations, eight personal delegates from foreign countries, a number of personal delegates from the US; the business or arrangement of the Pan-American Conference was achieved through the cooperation of the ambassadors from the Pan-American nations. The delegates were met at various points throughout the US until their arrival in Baltimore; the sessions were held in Baltimore's Roof Garden of the Century Theatre and in the ballroom of the Belvedere Hotel. During the sessions, all the delegates sat upon the platform under the respective banners of their countries; the large Conference Hall was decorated with the flags of all the nations represented. Many of the foreign delegates spoke in Spanish and their speeches were interpreted; the invitations to the governments of South and Central American countries to send delegates to this conference were forwarded through the US State Department and its diplomatic representatives in the Republics of Latin America.
While not an official invitation from the Government of the US, the plan received the sanction and approval of administration officials, who viewed these types of conferences favorably, as they would promote a better understanding and more friendly relations between the citizens of the various countries. The main purpose of this conference, according to Maud Wood Park, national president of the League of Women Voters, was to bring the women of the US into more friendly relations with the women of South America, Central America and Canada. Baltimore was selected as the next convention city of the PAU at the national convention which occurred in April 1921 at Cleveland, this being on the joint invitation of the Maryland League of Women Voters, the State of Maryland through Governor Albert C. Ritchie, the city of Baltimore through Mayor William Frederick Broening. Rowe concurred with the suggestion of the Maryland League of Women Voters that a Pan American conference of women would carry on and strengthen the friendly relations and good will between women of the countries represented by the PAU, the foundations for which were laid by the Woman's Auxiliary Committee of the Second Pan American Scientific Conference of December–January, 1915-16.
In making plans for the conference, the National League of Women Voters consulted with Hughes and Rowe who approved. The plans were first presented to Hughes and Hoover by a delegation consisting of Park, Madeleine Lemoyne Ellicott, Matilda Backus Maloy, Lavinia Engle, representing the Maryland League of Women Voters. Upon its approval by the Cabinet officers, the plan was laid before the Baltimore Board of Trade by the league, receiving their endorsement; the League of Women Voters believed that definite results could be achieved through round-table conferences. Women everywhere were recognizing the necessity of raising the standards for women in industry, of securing legislation that would guard the civil rights of women, of protecting in every possible way those who need protection. To this end it was fitting to discuss the best means to the desired end, that the participants would have an opportunity to help one another through conference and consultation. Park said that women were instinctively ready to work together for the things that they wished to accomplish, because their interests were cooperative rather than competitive.
"Women's distinctive interests are in common— home making, general welfare—whereas men's distinctive interests are sometimes of necessity conflicting and have to be settled by compromise. There is nothing about the ordinary occupations of women, competitive. To illustrate, if the women of one nation are able to secure a child-welfare measure, to develop and improve their work along these lines, their step in advance is a help and not a hindrance to the women of all other nations; the occupations and interests of women are the occupations and interests of peace, lend themselves to cooperation." The program was divided into six conference sessions, two being held each day: Child Welfare: Grace Abbott, Chief of Children's Bureau, United States Department of Labor, presiding.