Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Ivan Guimarães Lins is a Latin Grammy-winning Brazilian musician. He has been an active performer and songwriter of Brazilian popular music and jazz for over thirty years, his first hit, "Madalena", was recorded by Elis Regina in 1970. "Love Dance", a hit in 1989, is one of the most recorded songs in musical history. His songs have been covered by Patti Austin, David Benoit, George Benson, Michael Bublé, Eliane Elias, Ella Fitzgerald, Dave Grusin, Shirley Horn, Quincy Jones, Steve Kuhn, the Manhattan Transfer, Sérgio Mendes, Jane Monheit, Mark Murphy, Carmen McRae, Joe Pass, Lee Ritenour, Sarah Vaughan, Diane Schuur, Barbra Streisand, Take 6, Toots Thielemans, Nancy Wilson. Ivan Lins was born in Rio de Janeiro, he spent several years in Boston, while his father, a naval engineer, continued graduate studies at M. I. T. Studied at the Military College in Rio, he received a degree in industrial chemical engineering from the Federal University of Rio de Janeiro. He considered a career in volleyball before discovering his considerable musical talent.
Ivan Lins resides in Rio de Janeiro. Ivan Lins has released albums and penned several standards, such as "Love Dance", "Começar de Novo" and "Velas Içadas", which have made their way north into the American jazz lexicon. "You Moved Me to This", a duet with Brenda Russell from the same album as "Love Dance", saw modest success on American radio. He recorded in English for Reprise/Warner Bros. Records in the early 1990s. In the mid-eighties Lins recorded a jazz fusion album with Dave Grusin and Lee Ritenour titled Harlequin, a critical and commercial success. Lins composed the soundtrack for the Brazilian film Dois Córregos. Lins' longtime composing partner is Vitor Martins, their songs feature lush harmony with a distinctive jazz sensibility. One signature voicing he employs in his own performances is the delayed addition of a ♯11 to a sus13 chord, or the delayed addition of a ♭9 to a sus13 chord. Lins appeared as a guest performer on the albums Dois Mundos and Recorded in Rio by the Dutch artist Josee Koning.
He appeared on the Michael Bublé album Call Me Irresponsible and with singer/songwriter Paula Cole on her 2007 CD Courage, singing a duet with her on the song "Hard to be Soft". Lins guested on American artist Jane Monheit's album Surrender, which includes his composition "Rio de Maio". Jazz reporter and music critic David Adler reported Lins's October 2000 Carnegie Hall concert performance and tribute to him; the event corresponded with the tribute album titled A Love Affair, released by Telarc Records. Headline performers from diverse genres participated in celebrating the man and his music on the recording and in the world-class performance hall, a noteworthy accomplishment in the history of any musician. Lins maintains an active touring schedule, including a 2003 appearance at the Blue Note in New York City. In May 2008 he returned to New York. Ivan Lins is a political artist and musical icon in his country. Beyond his own performance of his compositions, Simone is a notable and respected interpreter of his work.
In 2005, he won two Latin Grammy Awards. He became the first Brazilian artist and Portuguese-language artist to win the Latin Grammy for Album of the Year. No other Brazilian artist or Portuguese-language artist has won the award since then. Lins was nominated for three Latin Grammy Awards in 2009 for his latest album, Regência: Vince Mendoza performed with the Metropole Orchestra, he was nominated for Album of the Year. He won the award for Best MPB Album. In 2015, he was nominated for the 16th Latin Grammy Awards in the Best MPB Album category for his album América Brasil. Agora Deixa O Trem Seguir Quem Sou Eu Modo Livre Chama Acesa Somos Todos Iguais Nesta Noite Começar de novo Nos Dias de Hoje A Noite Novo Tempo Daquilo Que Eu Sei Depois dos Temporais Juntos |Juntos Ivan Lins |Ivan Lins Mãos Love Dance Amar Assim Awa Yiô A Doce Presença de Ivan Lins Anjo de Mim I'm Not Alone Acervo Especial, Vol. 2 Ivan Lins/Chucho Valdés/Irakere/Ao Vivo Viva Noel: Tributo a Noel Rosa Vol. 1 Viva Noel: Tributo a Noel Rosa Vol. 2 Live at MCG Dois Córregos Um Novo Tempo A Cor Do Pôr-Do-Sol Jobiniando Love Songs – A Quem Me Faz Feliz I Love Mpb – Amor Cantando Histórias Acariocando Saudades de Casa Regência: Vince Mendoza Believe What I Say Official Web site Live performance photographs Selected discography
Tropicália known as Tropicalismo, was a Brazilian artistic movement that arose in the late 1960s. It encompassed art forms such as theatre and music; the movement was characterized by a combination of the popular and the avant-garde, as well as a fusion of traditional Brazilian culture with foreign influences. Today, Tropicália is chiefly associated with the musical faction of the movement, which merged Brazilian and African rhythms with pop-rock. Musicians who were part of the movement include Caetano Veloso, Gilberto Gil, Os Mutantes, Gal Costa, Tom Zé, the poet/lyricist Torquato Neto, all of whom participated in the 1968 album Tropicália: ou Panis et Circencis, which served as a musical manifesto. A dominant principle of Tropicália was antropofagia, a type of cultural cannibalism that encouraged the conflation of disparate influences, out of which could be created something unique; the idea was put forth by poet Oswald de Andrade in his Manifesto Antropófago, published in 1928, was developed further by the tropicalistas in the 1960s.
The 1968 album Tropicália: ou Panis et Circencis is regarded as the musical manifesto of the Tropicália movement. Although it was a collaborative project, the main creative forces behind the album were Caetano Veloso and Gilberto Gil; the album experimented with unusual time signatures and unorthodox song structures, mixed tradition with innovation. Politically, the album expressed criticism of the coup d'état of 1964. Key artists of the movement include Gilberto Gil, Gal Costa and Caetano Veloso. According to Maya Jaggi, "Gil was inspired by Jorge Ben Jor, a Rio musician on the fringes of the movement, who mixed urban samba and bossa nova with rhythm and blues and funk."The anarchistic, anti-authoritarian musical and lyrical expressions of the Tropicalistas soon made them a target of censorship and repression by the military junta that ruled Brazil in this period, as did the fact some of the collective, including Veloso and Gil actively participated in anti-government demonstrations. The Tropicalistas' passionate interest in the new wave of American and British psychedelic music of the period - most notably the work of The Beatles - put them at odds with Marxist-influenced students on Brazil's left, whose aesthetic agenda was nationalistic, oriented towards'traditional' Brazilian musical forms.
This leftist faction vigorously rejected anything - Tropicalismo - which they perceived as being tainted by the corrupting influences of Western capitalist popular culture. The politico-artistic tensions between leftist students and the Tropicalistas reached a climax in September 1968, with Caetano Veloso's watershed performances at the third International Song Festival, held in the auditorium of Rio's Catholic University, where the audience not included a large contingent of left-wing students. Veloso had won a major song prize at the previous year's Festival, when he was backed by an Argentinian rock band, although his unconventional performance caused some initial consternation, he managed to win over the crowd and was feted as a new star of Brazilian popular music. By late 1968, Veloso was immersed in the Tropicalia experiment, his performances, which were expressly intended as provocative art "happenings", caused a near-riot. In the first round of the competition on 12 September, Veloso was greeted by enthusiastic applause, but the mood changed when the music started.
Veloso came on dressed in a bright green plastic tunic, festooned with electrical wires and necklaces strung with animal teeth, his backing band Os Mutantes were dressed in outlandish attire. The ensemble launched into a barrage of psychedelic music, played at high volume, Veloso further outraged the students with his overtly sexual stage movements; the crowd reacted angrily, shouting abuse at the performers and booing loudly, their fury was only exacerbated by the surprise appearance of an American pop singer, John Dandurand, who joined Veloso on stage and grunted incoherently into the microphone. After such a powerful negative reaction, Veloso was unsure whether to appear in the second round on 15 September, but his manager convinced him to go on, this chaotic performance was recorded live and released as a single; the students in the audience began hissing as soon as Veloso's name was announced before he had taken the stage. Wearing the same green costume, Veloso came on with Os Mutantes amid a storm of catcalls, the group launched into a provocative new song Veloso had written for the occasion, "É Proibido Proibir", the title of which he had taken from a photo of a Parisian protest poster, which he had seen reproduced in a local magazine.
The booing and jeering was soon so loud that Veloso struggled to be heard over the din, he again deliberately taunted the leftists with his sexualised stage actions. Within a short time the performers were being pelted with fruit, eggs and a rain of paper balls, a section of the audience expressed their disapproval by standing up and turning their backs to the performers, prompting Os Mutantes to respond in kind by turning their backs on the audience. Infuriated by the students' reaction, Veloso stopped singing and launched into a furious improvised monologue, haranguing the students for their behaviour and denouncing what he saw as their cultural conservatism, he was joined by Gilberto Gil, who came on stage to show his support for Veloso, as the tumult reached a crescendo, Veloso announced he was withdrawing from the competition, after deliberately finishing the song out o
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Vinicius de Moraes
Marcus Vinicius da Cruz e Mello Moraes known as Vinícius de Moraes and nicknamed O Poetinha, was a Brazilian poet, lyricist and playwright. He served as a diplomat, composed bossa nova music, recorded several albums. Moraes was born in Gávea, a suburb of Rio de Janeiro, to Clodoaldo da Silva Pereira Moraes, a public servant, Lidia Cruz, a housewife and amateur pianist. In 1916, his family moved to Botafogo. In 1920, he gained entrance to a Masonic lodge through his maternal grandfather. Fleeing the 18 of the Copacabana Fort revolt, his parents moved to Governador Island while Moraes remained at his grandfather's home in Botafogo to finish school. During visits with his parents on weekends and holidays, he became acquainted with the composer Bororo. Beginning in 1924, Moraes attended St. Ignatius, a Jesuit high school, where he sang in the choir and wrote theatrical sketches. Three years he became friends with the brothers Paulo and Haroldo Tapajos, with whom he wrote his first musical compositions, which were performed at friends' parties.
In 1929, he completed his family moved back to Gávea. During the same year, he was admitted to the Faculty of Law at the University of Rio de Janeiro. At the "School of Catete", he became friends with essayist and future novelist Octavio de Faria, an activist integrist Catholic and leader of a group of right-wing Catholics organized around Centro Dom Vital, a think-tank created by Jackson de Figueiredo shortly before his death. Faria encouraged Moraes's literary vocation. Moraes received his college degree in Legal and Social Sciences in 1933. Soon after, he published his first two collections of poetry: Caminho para a distancia and Forma e exegese. Both collections were published under Octavio de Faria's informal editorship; the collections were symbolist poetry concerned with Catholic mysticism and the search for redemption against sexual seduction. In the essay "Two Poets", Faria compared Moraes's poetry to that of Augusto Frederico Schmidt; the tension between Faria and Moraes' mutual Catholic activism and Faria's homosexual attraction toward Moraes limited their friendship.
Faria attempted suicide because of his unrequited love for Moraes. Despite their estrangement, Moraes wrote two sonnets, the first in 1939, the second during the 1960s in ambivalent praise of his friend. In 1936, Moraes became film censor for the Ministry of Health. Two years he won a British Council fellowship to study English language and literature at Oxford University, he abandoned his use of blank verse and free verse in favor of the sonnet, both the Italian form used in Portuguese poetry and the English form. He was considered one of the most prominent of the "generation of'45", a group of Brazilian writers in the 1930s and 1940s who rejected early modernism in favor of traditional forms and vocabulary, he is equated with his friend João Cabral de Melo Neto for the high technical skill of their poetry. However, if in Cabral's works technique served the depiction of objective reality, in Moraes's work technique served the depiction of the subjective mood of sexual love; the basic meter in Moraes's love poetry is the decasyllable, taken from Camoes' lyrical poetry.
During his stay in England, Moraes wrote. He was married to Beatriz Azevedo de Mello, with whom he had two children: filmmaker Suzana de Moraes and Pedro. In 1941, he returned to Brazil and worked as a film critic for the newspaper A Manha, as a contributor to the literary journal Clima, at the Banking Employees' Institute of Social Security, the public pension fund for workers in banking institutions. During the following year, he failed the admission test for a diplomatic career at the Ministry of Foreign Affairs. Shortly after, he was commissioned to accompany American writer Waldo Frank, a literary acquaintance, on a tour across Northern Brazil. In Moraes's words, it was contact with both Frank and "appalling poverty" that turned him into "a man of the Left". In 1943, Moraes passed the MRE admission test on his second attempt, he was assigned as vice-consul at Los Angeles. He published a book of poems, Cinco elegias, followed by Poemas, sonetos e baladas. After his father died in 1950, he went to Brazil returned to Los Angeles and published two more books: Livro de sonetos and Novos poemas II.
During the 1950s, he worked for the Brazilian consular service in Rome. He visited historian Sergio Buarque de Holanda, teaching in Italy as a visiting scholar. In 1951, Moraes married Lila Maria Esquerdo e Boscoli, he wrote film reviews for Samuel Wainer's Vargoist paper Ultima Hora. He was named a delegate to the Punta del Este film festival and was given a commission to study the management of film festivals at Cannes, Berlin and Venice, in view of the forthcoming São Paulo Cinema Festival, to be a part of the commemoration of the city's 400th anniversary. In 1953, his third child, was born. A fourth child by his second wife was born in 1956, he went to Paris as second secretary at the Brazilian embassy in France. He released his first samba, "Quando tu passas por mim", composed with Antonio Maria. During the next year, he wrote lyrics to chamber music pieces by Claudio Santoro, he b