title: Donald Sinden

text: According to his second autobiography, while investigating his family genealogy he discovered that the only previous relatives who were also members of the theatrical profession were the Victorian brother and sister act of Bert and Topsy Sinden, who were distant cousins. Topsy achieved "some fame as a 'skirt dancer' and première danseuse at the Empire Theatre of Varieties in Leicester Square."


title: Donald Sinden

text: Sinden died at his home in Wittersham on the Isle of Oxney, Kent, on 12 September 2014, aged 90, from prostate cancer diagnosed several years earlier. Speaking at his funeral, held on 19 September at St John the Baptist Church, Wittersham, were his grandson Hal Sinden, Dame Judi Dench and Sir Patrick Stewart. The eulogy was read by Lord Archer. An honorary life member and trustee of the Garrick Club in London, which he joined in 1960, Sinden was cremated in a coffin painted in the club's 'salmon and cucumber' colours.


title: Donald Sinden

text: The lights on the marquees of the West End's theatres were dimmed in his honour, in the traditional mark of respect to theatre's most notable contributors, on 12 September 2014.


title: Donald Sinden

text: A blue plaque in his memory was attached to his former family home in Hampstead Garden Suburb in 2015 and another to his country home in Wittersham, Isle of Oxney, Kent, in 2021.


title: Lianne La Havas

text: Lianne Charlotte Barnes (born 23 August 1989), known professionally as Lianne La Havas ( ), is a British singer-songwriter and record producer. Her career began after being introduced to various musicians, including singer Paloma Faith, for whom she sang backing vocals. In 2010, La Havas signed to Warner Bros. Records, spending two years developing her songwriting, before releasing any music. La Havas' debut studio album, "Is Your Love Big Enough?" (2012), was released to positive reviews from critics and earned her a nomination for the BBC's Sound of 2012 poll and awards for the iTunes Album of The Year 2012. She has released two other studio albums since, "Blood" in 2015 and "Lianne La Havas" in 2020. She was nominated once for a Grammy award in 2016 and twice for Brit Awards, in 2017 and 2021. She currently lives in London.


title: Lianne La Havas

text: La Havas was born and raised in London, England, to a Greek father and Jamaican mother. She was raised in Tooting and Streatham, spending the majority of her time with her grandparents after her parents separated. La Havas began singing at seven, and she cites her parents' diverse musical tastes as having the biggest influence on her music. Her father, an accomplished multi-instrumentalist, taught her the basics of guitar and piano. La Havas wrote her first song at the age of 11 but did not learn to play the guitar until she was 18 years old. She sang in her school choir. She attended Norbury Manor Business and Enterprise College for Girls in Thornton Heath, where she studied her A-levels. She had planned to take an art foundation course before she decided to leave college to pursue a career in music full-time.


title: Lianne La Havas

text: Her birth name is Lianne Barnes, and her stage name is an adaptation of her Greek father Henry Vlahavas' surname.


title: Lianne La Havas

text: Whilst attending sixth-form in Croydon, La Havas was introduced to musicians who would go on to assist her in the recording of her first demos. Through the same friends, La Havas was also introduced to British singer Paloma Faith; she later sang backing vocals on tour for Faith. La Havas was discovered on Myspace in 2008. Duncan Ellis, owner of Scruffy Bird Artist Management, first heard of La Havas through colleague Alex Hardee of the Coda Music Agency. When Ellis first saw La Havas perform, she was in the duo the Paris Parade, collaborating with future Elephant member Christian Pinchebeck (he later designed the artwork for "Lost & Found"). Paris Parade's short-lived career would kick off La Havas' career in commercial music. In 2010, Lianne signed to Warner Bros. Records, spending two years developing her songwriting skills before releasing any music publicly.


title: Lianne La Havas

text: Her first EP, "Lost & Found," was released on 21 October 2011 on the Labour of Love label. It featured Willy Mason on the opening track "No Room For Doubt". That same month, La Havas released the live EP "Live From LA", which was made available for free download on her website. La Havas made her television debut on 21 October 2011 broadcast of BBC Two's "Later… with Jools Holland", a programme that also featured Wisconsin folk band Bon Iver. Soon after her TV debut, on 25 October 2011, it was announced that La Havas would be the supporting act for Bon Iver's December 2011 North American tour.


title: Lianne La Havas

text: Her official debut single "Lost & Found" was released in the UK on 30 April 2012, and her debut album, "Is Your Love Big Enough?," was released on 9 July 2012 on Warner Brothers. At the end of 2012, "Is Your Love Big Enough?" was named iTunes Album of the Year.


title: Lianne La Havas

text: For more on the tracks and reception to "Is Your Love Big Enough?," see the main article about the album.


title: Lianne La Havas

text: On 24 September 2012, La Havas supported Alicia Keys at MTV 'Crashes' Manchester, a live performance in front of 1,000 people in Manchester Cathedral, broadcast in 164 countries. On 31 December 2012, she appeared on BBC Two's New Year's Eve show "Jools' Annual Hootenanny," singing "Cow Cow Boogie". On 9 June 2013, La Havas played at the RockNess music festival in Inverness, Scotland, and on 30 June 2013, La Havas performed at the Glastonbury Festival 2013. La Havas also performed at the Isle of Wight Festival in June 2013.


title: Lianne La Havas

text: In early 2014, Prince played a gig in La Havas' living room in London. She also appeared on Alt-J's 2014 album "This Is All Yours" on the track "Warm Foothills". On 30 September 2014, Prince released "Art Official Age", featuring La Havas heavily through the album, singing in "Clouds" and providing vocals on "Affirmation I&II", "Way Back Home" and "Affirmation III". La Havas also performed with Prince on an episode of "Saturday Night Live" as a featured vocalist on 1 November 2014.


title: Lianne La Havas

text: She collaborated with Aqualung on the song "Eggshells" from his album "10 Features", released on 19 January 2015.


title: Lianne La Havas

text: After touring was completed for her first album, La Havas and her mother travelled to Jamaica. During the trip, La Havas was inspired to write new material, which would eventually become part of her second album. She gave a live performance for her family and producer, Stephen McGregor, who would later co-produce her forthcoming album. Many of the songs were inspired by La Havas' reconnection to her Greek and Jamaican heritage. The first single of the album, "Unstoppable", premiered for streaming on 1 April 2015. The single, which was co-written with Paul Epworth, was officially released in the UK on 1 June 2015. Its music video premiered on 12 May 2015 on La Havas' official YouTube channel. The full album, called "Blood," was released on 31 July 2015 for physical and digital formats. La Havas toured in the UK and Europe in support of album from mid-May to September 2015. The album was nominated for Best Urban Contemporary Album at the 58th Annual Grammy Awards.


title: Lianne La Havas

text: La Havas features twice on Rudimental's album, "We the Generation" (2015), on the songs "Needn't Speak" and "Breath". She appeared on the popular "The Late Show with Stephen Colbert" on CBS in the United States on 27 October 2015, singing with Colbert's regular band, New Orleans jazz bandleader Jon Batiste and Stay Human. She also performed a Tiny Desk Concert on NPR in October 2015.


title: Lianne La Havas

text: La Havas lately plays a hollow-bodied 1964 Harmony Alden Stratotone guitar, which is put through a Fender Hot Rod Deluxe amp on stage with her band. For solo gigs she uses a SansAmp DI'd, and a Roland CUBE amp is used for practice.


title: Lianne La Havas

text: La Havas released "Bittersweet" on 25 February 2020 as the lead single from her upcoming self-titled album, "Lianne La Havas". On 4 May 2020, La Havas released the second single "Paper Thin" and announced that the album would be released on 17 July 2020. Recording of the album took place between October 2019 and December 2019, with sessions taking place in London, Bath, LA and New York. The album's production was handled by La Havas along with long-term collaborator Matt Hales, co-producers Beni Giles and Sam Crowe, and guest co-producer Mura Masa.


title: Lianne La Havas

text: It won in the Best Album category at the 2021 Ivor Novello Awards. It also received a number of positive reviews from major publishers. The "New York Times"' chief pop music critic, Jon Pareles, in his review, said:The songs illuminate passion, impulsiveness, ambivalence and uncertainty, yet the structures La Havas created are lucid and poised. While matters of the heart may be out of control, her fingers and voice are impeccable.Another reviewer, David Cheal, described the album in "FT" as "soulful" and compared it to the music of Jill Scott and Erykah Badu.


title: Ismail Kadare

text: Ismail Kadare (; spelled Ismaïl Kadaré in French; born on 28 January 1936) is an Albanian novelist, poet, essayist, screenwriter, and playwright. He is a leading international literary figure and intellectual. He focused on poetry until the publication of his first novel, "The General of the Dead Army", which made him famous internationally.


title: Ismail Kadare

text: In 1992, Kadare was awarded the Prix mondial Cino Del Duca; in 1998, the Herder Prize; in 2005, the inaugural Man Booker International Prize; in 2009, the Prince of Asturias Award of Arts; and in 2015, the Jerusalem Prize. He was awarded the Park Kyong-ni Prize in 2019, and the Neustadt International Prize for Literature in 2020. In 1996, France made him a foreign associate of the Académie des Sciences Morales et Politiques of France, and in 2016, he was a "Commandeur de la Légion d'Honneur" recipient. He has been nominated for the Nobel Prize in Literature 15 times. Since the 1990s, Kadare has been asked by both major political parties in Albania to become a consensual President of Albania, but has declined.


title: Ismail Kadare

text: His nominating juror for the Neustadt Prize wrote: "Kadare is the successor of Franz Kafka. No one since Kafka has delved into the infernal mechanism of totalitarian power and its impact on the human soul in as much hypnotic depth as Kadare." His writing has also been compared to that of Nikolai Gogol, George Orwell, Gabriel García Márquez, Milan Kundera, and Balzac. Living in Albania during a time of strict censorship, Kadare devised cunning stratagems to outwit Communist censors who had banned three of his books, using devices such as parable, myth, fable, folk-tale, allegory, and legend, sprinkled with double-entendre, allusion, insinuation, satire, and coded messages. In 1990, to escape the Communist regime and its "Sigurimi" secret police he defected to Paris. His works have been published in 45 languages. "The New York Times" wrote that he was a national figure in Albania comparable in popularity perhaps to Mark Twain in the United States, and that "there is hardly an Albanian household without a Kadare book."


title: Ismail Kadare

text: Kadare is regarded by some as one of the greatest writers and intellectuals of the 20th and 21st centuries, and as a universal voice against totalitarianism. He is the husband of author Helena Kadare, and the father of United Nations Ambassador, and UN General Assembly Vice President, Besiana Kadare.


title: Ismail Kadare

text: Ismail Kadare was born in the Kingdom of Albania during the reign of King Zog I. He was born in Gjirokastër, an historic Ottoman Empire fortress mountain city of tall stone houses in southern Albania, a dozen miles from the border with Greece. He lived there on a crooked, narrow street known as "Lunatics' Lane".


title: Ismail Kadare

text: His parents were Halit Kadare, a post office employee, and Hatixhe Dobi, a homemaker, who had married in 1933 when his mother was 17 years old. On his mother's side of the family, his great-grandfather was a Bejtexhi of the Bektashi Order, known as Hoxhë Dobi. Though he was born into a Muslim family, Kadare himself was an atheist.


title: Ismail Kadare

text: Three years after Kadare was born, Italian Prime Minister Benito Mussolini's troops invaded Albania and ousted the Albanian King. Italian rule followed. Kadare was nine years old when Italian troops were withdrawn, and the communist-led People's Socialist Republic of Albania was established.


title: Ismail Kadare

text: Kadare attended primary and secondary schools in Gjirokastër. He then studied Languages and Literature at the Faculty of History and Philology of the University of Tirana. In 1956, Kadare received a teacher's diploma. He lived in Tirana, Albania, until he became a resident of France in 1990. His Tirana apartment was converted into a museum in 2019, showcasing the work and life of the author.


title: Ismail Kadare

text: He is married to Albanian author Helena Gushi, and has two daughters. His daughter Besiana Kadare is the Albanian Ambassador to the United Nations, Albania's Ambassador to Cuba, and a Vice President of the United Nations General Assembly for its 75th session.


title: Ismail Kadare

text: At age 11, Kadare read William Shakespeare's play "Macbeth". He recalled years later: "Because I did not yet understand that I could simply purchase it in a bookstore, I copied much of it by hand and took it home. My childhood imagination pushed me to feel like a co-author of the play."


title: Ismail Kadare

text: He soon became entranced by literature. At age 12, Kadare wrote his first short stories, which were published in the "Pionieri" ("Pioneer") journal in Tirana, a communist magazine for children. In 1954 he published his first collection of poems, "Frymëzime djaloshare" ("Boyish inspirations")"." In 1957 he published a poetry collection entitled "Ëndërrimet" ("Dreams").


title: Ismail Kadare

text: At 17, Kadare won a poetry contest in Tirana, which allowed him to travel to Moscow to study at the Maxim Gorky Literature Institute. He studied literature during the Khrushchev era, doing post-graduate work from 1958 to 1960. His training had as its goal for him to become a communist writer and "engineer of human souls," to help construct a culture of the new Albania. In Moscow he met writers united under the banner of Socialist Realism—a style of art characterized by the idealized depiction of revolutionary communist values, such as the emancipation of the proletariat. Kadare also had the opportunity to read contemporary Western literature, including works by Jean Paul Sartre, Albert Camus, and Ernest Hemingway. Kadare, however, rejected the canons of Socialist Realism, and committed himself internally to write opposed to dogmatism. He also cultivated contempt for the "nomenklatura", an attitude which, he later wrote, was the product of his youthful arrogance rather than of considered political opposition. During his time in the Soviet Union, Kadare published a collection of poetry in Russian, and in 1959 also wrote his first novel, "Qyteti pa reklama" ("The City Without Signs"), a critique of socialist careerism in Albania.


title: Ismail Kadare

text: Kadare returned home in October 1960 on Albanian orders, before Albania's breaking of political and economic ties with the USSR. He lived for the next 30 years in Tirana, in an apartment which now houses the Ismail Kadare House museum and archives. He worked as a journalist, became editor-in-chief of the literary periodical "Les Lettres Albanaises" ("Albanian Letters"; published simultaneously in Albanian and French), and then contributed to the literary review "Drita" for five years, while embarking on a literary career of his own.


title: Ismail Kadare

text: At that time Kadare had a reputation for poetry. In 1961 he published a volume of poetry entitled "Shekulli im" ("My Century"). His work was particularly popular with Albanian youth. His future wife Helena, then a schoolgirl, wrote a fan letter to the young writer, which eventually led to their marriage in 1963.


title: Ismail Kadare

text: Kadare wrote one of his earliest pieces in the 1960s, a poem entitled "The Princess Argjiro." Locally inspired, the poem transforms the centuries-old myth of the legendary 15th century Princess Argjiro, who was said to have jumped off Gjirokastër Castle along with her child so as to avoid being captured by the Ottomans. The poem was denounced and an official reader's report was commissioned, which maintained he had committed historical and ideological errors. Kadare was criticized implicitly for disregarding socialist literary principles.


title: Ismail Kadare

text: In 1962, Kadare published an excerpt from his first novel as a short story under the title "Coffeehouse Days" in a communist youth magazine. It was then banned immediately after publication, contributing to his reputation for "decadence". Due to this criticism and advice from his friends, Kadare did not publish the full novel until 1990.


title: Ismail Kadare

text: In 1963, at 26 years of age, Kadare published his novel "The General of the Dead Army", about an army general and priest who, 20 years after World War II, are sent to Albania to locate the remains of fallen Italian soldiers and return them to Italy for burial. The novel faced criticism by Albanian literary critics for flouting socialist ideals and for its dark tone. The novel was thus in stark contrast to those of other Albanian writers of the time, who glorified the Communist revolution. The novel inspired three films: Luciano Tovoli's 1983 "The General of the Dead Army" ("Il generale dell'armata morta") in Italian starring Marcello Mastroianni and Michel Piccoli, Bertrand Tavernier's 1989 "Life and Nothing But" ("La Vie et rien d’autre") in French starring Philippe Noiret, and Dhimitër Anagnosti's 1989 "The Return of the Dead Army" ("Kthimi i ushtrisë së vdekur") in Albanian starring Bujar Lako. Though it is his best-known novel, and Kadare views it as "good literature", he does not view it as his best work.


title: Ismail Kadare

text: In 1964 he wrote "Përse mendohen këto male" ("What are these mountains thinking about?"). His next short novel, "The Monster" ("Përbindëshi"), published in the literary magazine "Nëntori" in 1965, was labeled "decadent" and banned upon publication; it was Kadare's second ban.


title: Ismail Kadare

text: By the mid-1960s, the cultural censorship thaw of the early part of the decade was over, and conditions changed dramatically. In 1967, Albania launched its own Cultural Revolution. Kadare was exiled for two years along with other Albanian writers to Berat in the countryside, to learn about life alongside the peasants and workers. Two Albanian dramatists were at the time also sentenced to eight years in prison each. Albanian writers and artists encountered indifference from the world outside Albania, which did not speak in their support.


title: Ismail Kadare

text: "The General of the Dead Army" was Kadare's first great success outside Albania. The French translation by Isuf Vrioni, published in 1970 in Paris by publisher Albin Michel, led to Kadare's international breakthrough. In the ironic novel, an Italian general and Italian Army priest return to Albania 20 years after World War II, to find and bring back to Italy for final burial there the bodies of Italian soldiers killed in the war. The French publishing house published the novel without Kadare's knowledge or permission, as Albania at the time was not a signatory to the Universal Copyright Convention and there was no copyright protection on the text. Once the book appeared in France, it was translated into most European languages. By 1977 it had been translated into over 20 languages, with the Albanian communist press hailing it as "one of the most successful translations of the world of the 70s."


title: Ismail Kadare

text: After the success of the novel in the West in 1970, the older generation of Albanian writers and dogmatic literary critics became extremely embittered against the "darling of the West": "This novel was published by the bourgeoisie and this cannot be accepted", said a report by the Albanian secret police. Kadare's enemies in the secret police and the old guard of the Albanian Politburo referred to him as an agent of the West, which was one of the most dangerous accusations that could be made in Albania. However, Kadare continued to publish in his home country and became widely promoted in his home country, with frequent references in the Albanian press to new releases and translations of his work, with Kadare being hailed as a "hero of the new Albanian literature". Kadare's work was described as "treat[ing] many problems preoccupying" Albanian society, and as "mak[ing] use of the revolution as the organizing element of his writing." He was also lauded as having a "revolutionary drive" which "keeps pace with life and fights against old ideas."


title: Ismail Kadare

text: In 1971 Kadare published the novel "Chronicle in Stone", in which the narrator is a young Albanian boy whose old stone city hometown is caught up in World War II, and successively occupied by Greek, Italian, and German forces. The novel has been described as "magic realism." John Updike wrote in "The New Yorker", that it was "a thoroughly enchanting novel — sophisticated and accomplished in its poetic prose and narrative deftness, yet drawing resonance from its roots in one of Europe's most primitive societies." The book was heavily publicized in the Albanian press, both domestically and in magazines aimed at promoting Albanian socialism and culture to an international audience, such as "New Albania".


title: Ismail Kadare

text: Throughout the 1970s, Kadare began to work more with myths, legends, and the distant past, often drawing allusions between the Ottoman Empire and present-day Albania. At this time, he also worked as an editor and contributor to "New Albania", an arts and culture magazine which sought to promote Albanian socialism to a worldwide audience.


title: Ismail Kadare

text: In 1970, Kadare published "Kështjella" ("The Castle" or "The Siege") which was celebrated in both Albania and Western Europe, seeing a translation into French in 1972. It detailed war between Albanians and Ottomans during the time of Skanderbeg.


title: Ismail Kadare

text: In 1978 he published the novel "The Three-Arched Bridge", a political parable set in 1377 in the Balkans, narrated by an Albanian monk. "The New York Times" called it "an utterly captivating yarn: strange, vivid, ominous, macabre and wise."


title: Ismail Kadare

text: After Kadare offended the authorities with a political poem entitled "The Red Pasha" in 1975 that poked fun at the Albanian Communist bureaucracy, he was denounced, narrowly avoiding being shot, and was ultimately sent to do manual labor in a remote village deep in the central Albania countryside for a short period of time. After his return to Tirana, Kadare increasingly began to publish short novellas.


title: Ismail Kadare

text: In 1980 Kadare published the novel "Broken April", about the centuries-old tradition of hospitality, blood feuds, and revenge killing in the highlands of north Albania in the 1930s. "The New York Times", reviewing it, wrote: ""Broken April" is written with masterly simplicity in a bardic style, as if the author is saying: Sit quietly and let me recite a terrible story about a blood feud and the inevitability of death by gunfire in my country. You know it must happen because that is the way life is lived in these mountains. Insults must be avenged; family honor must be upheld..." The novel was made into a 2001 Brazilian movie entitled "Behind the Sun" ("Abril Despedaçado") by filmmaker Walter Salles, set in 1910 Brazil and starring Rodrigo Santoro, which was nominated for a BAFTA Award for Best Film Not in the English Language and a Golden Globe Award for Best Foreign Language Film.


title: Ismail Kadare

text: In 1981, Kadare published "The Palace of Dreams", an anti-totalitarian fantasy novel. In the novel, an authoritarian dystopia (the imaginary U.O.S.; the United Ottoman States) through an enormous bureaucratic entity (the Palace of Dreams) collects every dream in the empire, sorts it, files it, analyses it, and reports the most dangerous ones to the Sultan. Kadare first published an excerpt of the novel as a short story, alongside some of his other new works, in his 1980 collection of four novellas, "Gjakftohtësia" ("Cold-bloodedness"). The following year, under the same title, Kadare published the completed novel in the second edition of "Emblema e dikurshme" ("Signs of the Past"); despite its political themes, it was not censored by the Albanian authorities.


title: Ismail Kadare

text: After publishing "The Palace of Dreams", readers began to draw comparisons between its critique of totalitarianism and the current government of Albania. At a meeting of the Albanian Writers Union, Kadare was accused by the president of the Union of deliberately evading politics by cloaking much of his fiction in history and folklore, and "The Palace of Dreams" was expressly condemned in the presence of several members of the Albanian Politburo. Kadare was accused of attacking the government in a covert manner, and the novel was viewed by the authorities as an anticommunist work and a mockery of the political system. As a result, the work was banned—but not before 20,000 copies had been sold. The authorities were initially reluctant to imprison or purge Kadare, as he had become an internationally recognized literary figure and it would have caused an international backlash – which, given the country's rapid economic decline, the government wanted to avoid at all costs. Western press reacted to the condemnation of "The Palace of Dreams", and protests mounted in the West in defense of the author. Of all his books, it is the one Kadare is most proud of having written.


title: Ismail Kadare

text: That same year Kadare finished his novel "The Concert", a satirical account of the Sino-Albanian split, but it was criticized by the authorities and was not published until 1988.


title: Ismail Kadare

text: Communist Albanian leader Enver Hoxha presided over a Stalinist regime of forced collectivization and suppression from the end of World War II until 1985. He initiated a process of eliminating Kadare, but backed off due to Western reaction. There was, however, a nightly presence of authorities outside of Kadare's apartment. Albanian historian and scholar Anton Logoreci described Kadare during this time as "a rare sturdy flower growing, inexplicably, in a largely barren patch."


title: Ismail Kadare

text: In January 1985 Kadare's novel "A Moonlit Night" was published, only to be banned by the authorities. On 9 April 1985 Hoxha fell into a coma; the next night he died, aged 76. On the evening of the ailing dictator's death, members of the Union of Writers, the Albanian Politburo, and the Central Committee of the Communist Party hastily organized a meeting in order to condemn Kadare's latest novel "Moonlit Night".


title: Ismail Kadare

text: That same year Kadare wrote the novella "Agamemnon's Daughter" – a direct critique, set in the 1970s, of the oppressive regime in Albania. It was smuggled out of the country, with the help of Kadare's French editor Claude Durand, but was not published until 2003.


title: Ismail Kadare

text: In 1990 Kadare requested a meeting with Albanian President Ramiz Alia, at which he urged him to end human rights abuses, implement democratic and economic reforms, and end the isolation of Albania. Kadare was disappointed with Alia's slow reaction.


title: Ismail Kadare

text: In October 1990, after he criticized the Albanian government, urged democratization of isolationist Albania—Europe's last Communist-ruled country (then totalling 3.3 million people), and faced the ire of its authorities and – the final straw – threats from the Albanian "Sigurimi" secret police, Kadare sought and received political asylum in France. He defected to Paris; since then he has lived primarily in Paris, and temporarily after a time in Tirana. He had decided to defect because he had become disillusioned with the government of Ramiz Alia, legal opposition was not allowed in Albania, and he had become convinced "that more than any action I could take in Albania, my defection would help the democratization of my country." "The New York Times" wrote that he was a national figure in Albania comparable in popularity perhaps to Mark Twain in the United States, and that "there is hardly an Albanian household without a Kadare book, and even foreign visitors are presented with volumes of his verse as souvenirs."


title: Ismail Kadare

text: The official Albanian press agency reacted by issuing a statement on "this ugly act," saying Kadare had placed himself "in the services of the enemies of Albania." Some intellectuals, at great personal risk, publicly supported Kadare, whom the authorities had declared a traitor. Poet Dritero Agolli who headed the Albanian Writers' Union said: "I continue to have great respect for his work." Despite this, his books were not fully banned by the communist authorities, and he remained a popular and celebrated author.


title: Ismail Kadare

text: After receiving political asylum and settling in France, Kadare continued to write. His exile in Paris was fruitful and enabled him to succeed further, writing both in Albanian and in French.


title: Ismail Kadare

text: His 1992 novel "The Pyramid" is a political allegory set in Egypt in the 26th century BC, focusing on intrigues behind the construction of the Great Pyramid of Cheops. In it, Kadare mocked any dictator's love for hierarchy and useless monuments. In some of Kadare's novels, comprising the so-called "Ottoman Cycle", the Ottoman Empire is used as the archetype of a totalitarian state. In 1993, the novel was awarded the Prix Méditerranée Étranger in France.


title: Ismail Kadare

text: In 1994 he began to work on the first bilingual volume of his work with the French publishing house Fayard. The same year he wrote on command, in Paris, for the French editor Flammarion, the essay "La légende des légendes" (The legend of legends) that was immediately translated to French and published in 1995.


title: Ismail Kadare

text: Kadare's 1996 novel "Spiritus" marks a narrative and compositional turning point in his literary career. In it, two ghosts return to a post-Communist world. The influence of this novel is felt in all of Kadare's subsequent novels. It deals with a group of foreigners who are touring Eastern Europe after the fall of Communism and hear exciting rumours during their stay in Albania about the capture of the spirit from the dead. As it turns out, the spirit is in fact a listening device known to the notorious secret service as a "hornet".


title: Ismail Kadare

text: His 2008 novel "The Fall of the Stone City" was awarded the Rexhai Surroi Prize in Kosovo, and was shortlisted for the "Independent" Foreign Fiction Prize in 2013.


title: Ismail Kadare

text: His semi-autobiographical novel "" was published in 2020. It focuses on Kadare's complex bonds with his mother and his country.


title: Ismail Kadare

text: Since the 1990s, Kadare has been asked multiple times by both major political parties in Albania to run for President of Albania, but has declined.


title: Ismail Kadare

text: In 1992, Kadare was awarded the Prix mondial Cino Del Duca international literary award in France. In 1996 he was made a lifetime member of the Academy of Moral and Political Sciences of France ("Académie des Sciences Morales et Politiques"), one of the five Academies that make up the Institut de France learned society, in the chair vacated by the recently deceased philosopher Karl Popper. In 1998 he was awarded the international Herder Prize in Austria. In 2003 he received the Ovid Prize international award in Romania, and the Presidential Gold Medal of the League of Prizren from the President of Kosovo.


title: Ismail Kadare

text: In 2005 he received the inaugural Man Booker International Prize in the United Kingdom for the full body of his work. In his acceptance speech, Kadare said: "We propped each other up as we tried to write literature as if that regime did not exist. Now and again we pulled it off. At other times we didn't."


title: Ismail Kadare

text: In 2008 he received the Flaiano Prize international award in Italy. In 2009, Kadare was awarded the Prince of Asturias Award for Literature in Spain, for his literary works.


title: Ismail Kadare

text: In 2015, Kadare was awarded the bi-annual Jerusalem Prize in Israel. Speaking of the relationship between Albania and the Jews, Kadare said: "I come from one of the few countries in the world which helped the Jews during World War II. I believe the number of Jews there grew from 200 at the start of the war to 2,000 by the end. The population always defended the Jews, whether during the kingdom, under Communism, or after it. He noted that during the Holocaust Albanians refused to hand Jews over to the Nazis, and many Albanians went to great lengths to protect Jewish refugees who had fled to Albania. He also noted that Albania and Israel share in common the experience of "fighting for survival" in a sometimes hostile neighborhood.


title: Ismail Kadare

text: In 2016, Kadare became the first Albanian "Commandeur de la Légion d'Honneur" recipient, with the award being given to him by French President François Hollande. That year he was also awarded the Albanian National Flag Decoration, Albania's highest decoration, by Albanian President Bujar Nishani. He won the 2018 International Nonino Prize in Italy.


title: Ismail Kadare

text: He won the 2019 Park Kyong-ni Prize, from a list of 350 writers, for his literary works during his career. It is an international award based in South Korea.


title: Ismail Kadare

text: That year Kadare was also named Grand Officer ("Grand officier") of the Legion of Honor by a special decree of French Prime Minister Emmanuel Macron, and thus was ranked among the 250 world-renowned personalities honored by France. The Legion of Honor is the highest state title awarded by France.


title: Ismail Kadare

text: Kadare was nominated for the 2020 Neustadt International Prize for Literature (described as the "American Nobel") in the United States by Bulgarian writer Kapka Kassobova. He was selected as the 2020 laureate by the Prize's jury. He won the 2020 Neustadt International Prize for Literature. In his acceptance speech, he observed: "There is no room for literature in the Marxist vision of the future world." His nominating juror wrote: "Kadare is the successor of Franz Kafka. No one since Kafka has delved into the infernal mechanism of totalitarian power and its impact on the human soul in as much hypnotic depth as Kadare."


title: Ismail Kadare

text: He also won the 2020 Prozart Award, given by the International Literature Festival "PRO-ZA Balkan," for his contributions to the development of the literature in Balkans.


title: Ismail Kadare

text: Kadare has received the President of the Republic of Albania "Honor of the Nation" Decoration, and the French state order "Cross of the Legion of Honor". He is also a member of the Academy of Albania, the Berlin Academy of Arts, and the Mallarmé Academy, and was awarded honorary doctorates in 1992 from the University of Grenoble III in France, in 2003 from the University of Pristina in Kosovo, and in 2009 from the University of Palermo in Italy.


title: Ismail Kadare

text: Kadare has been nominated for the Nobel Prize in Literature 15 times. He has stated that the press has spoken about him being a potential Nobel Prize winner so much, that "many people think that I’ve already won it".


title: Ismail Kadare

text: Kadare is considered to be one of the greatest living writers. The London newspaper "The Independent" said of Kadare: "He has been compared to Gogol, Kafka and Orwell. But Kadare's is an original voice, universal but deeply rooted in his own soil". "The New York Times" said his fiction has been compared with that of Gabriel García Márquez, as well as Milan Kundera, and "The Christian Science Monitor" wrote he has also been compared with Dostoevsky and Isak Dinesen. Translator and biographer David Bellos wrote that "In some ways, he's like Balzac." Critic Richard Eder called him "a supreme fictional interpreter of the psychology and physiognomy of oppression."


title: Ismail Kadare

text: Kadare's literary works were conceived in the bedrock of tiny Albanian literature, almost unknown before in Europe or the rest of the world. With Kadare it became known, read, and appreciated. For the first time in its history, through Kadare, Albanian literature has been integrated into wider European and world literature.


title: Ismail Kadare

text: Kadare's oeuvre is a literature of resistance. He managed to write normal literature in an abnormal country – a Communist dictatorship. He had to struggle to get his literary works published, going against state policy. At times even putting his life at risk. Dissent was not allowed in Albania. Kadare noted: "That was not possible. You risked being shot. Not condemned, but shot for a word against the regime. A single word."


title: Ismail Kadare

text: Under Hoxha, at least 100,000 people were imprisoned for political reasons or for a word they said or wrote; 5,000, including many writers, were executed.


title: Ismail Kadare

text: Kadare devised numerous subtle strategies and cunning stratagems in order to outwit Communist censors. He used old devices such as parable, myth, fable, folk-tale, allegory, and legend, and sprinkled them with double-entendre, allusion, insinuation, satire, and coded messages.


title: Ismail Kadare

text: His oeuvre in general has been in theoretical and practical opposition to the mandatory Socialist Realism required by the State. Kadare challenged Socialist Realism for three decades and opposed it with his subjective realism, avoiding state censorship by using allegorical, symbolic, historical and mythological means.


title: Ismail Kadare

text: The conditions in which Kadare lived and published his works were not comparable to other European Communist countries where at least some level of public dissent was tolerated. Rather, the situation in Albania was comparable to North Korea or to the Soviet Union in the 1930s under Stalin. Despite this, Kadare used any opportunity to attack the regime in his works, by means of political allegories, which were picked up by educated Albanian readers. Henri Amouroux, a member of the Académie des Sciences Morales et Politiques of France, pointed out that Soviet dissidents including Solzhenitsyn published their works during the era of de-Stalinization, whereas Kadare lived and published his works in a country which remained Stalinist until 1990.


title: Ismail Kadare

text: By 2020 most of his approximately 80 novels, plays, screenplays, poetry, essays, and story collections had been translated into different languages. His works have been published in 45 languages.


title: Ismail Kadare

text: Among his best-known books are "The General of the Dead Army" (1963), "The Siege" (1970), "The Ghost Rider" (1980), "Broken April" (1980; blood feuds in the highlands of north Albania), "The Palace of Dreams" (1981), "The Pyramid" (1992), and "The Successor" (2003; regarding the mysterious death of Hoxha's handpicked successor, Mehmet Shehu).


title: Ismail Kadare

text: Some of his works have been translated into English by David Bellos, though not from the Albanian original, but rather from French translations.


title: Ismail Kadare

text: The complete works (other than the essays, poetry, and short stories) of Ismail Kadare were published by Fayard, simultaneously in French and Albanian, between 1993 and 2004. Kadare's original Albanian language works have been published exclusively by Onufri Publishing House since 1996, as single works or entire sets. Published in 2009, the set of complete works constituted 20 volumes.


title: Ismail Kadare

text: The dates of publication given here are those of the first publication in Albanian, unless stated otherwise.


title: Himani Shivpuri

text: Himani Bhatt Shivpuri (born 24 October 1960) is an Indian actress known for her character roles in Bollywood films and Hindi soap operas. Her films include "Hum Aapke Hain Koun..!" (1994), "Raja" (1995), "Dilwale Dulhania Le Jayenge" (1995), "" (1996), "Hero No. 1" (1997), "Deewana Mastana" (1997), "Bandhan" (1998), "Kuch Kuch Hota Hai" (1998), "Biwi No.1" (1999), "Hum Saath-Saath Hain" (1999), "Kabhi Khushi Kabhie Gham..." (2001) and "Main Prem Ki Diwani Hoon" (2003).


title: Himani Shivpuri

text: Shivpuri was born in Dehradun, Uttarakhand, and educated at the all-boys boarding school, The Doon School, where her father, the poet Dr. Haridutt Bhatt "Shailesh", taught Hindi. At Doon, she was actively involved in dramatics. She began a parallel career in theatre while studying for a postgraduate degree in Organic Chemistry. She worked in "Phir Wahi Talash" as a supporting actress.


title: Himani Shivpuri

text: After graduating from the National School of Drama in 1982, Shivpuri worked briefly with the NSD Repertory Company and then moved to Mumbai.


title: Himani Shivpuri

text: Shivpuri made her film debut in 1984 with "Ab Ayega Mazaa", followed by "In Which Annie Gives It Those Ones" a TV film, in (1989), also starring Shahrukh Khan. She acted in many art films thereafter like Shyam Benegal's "Suraj Ka Satvan Ghoda" (1993) and "Mammo (1994)", though her big commercial break came with Sooraj R. Barjatya's "Hum Aapke Hain Koun..!" (1994).


title: Himani Shivpuri

text: She made her television debut with the serial "Humrahi" (DD National), directed by Kunwar Sinha, which gave her considerable popularity as her role of Devki Bhojai was widely appreciated. Earlier, she had made brief appearances in Lekh Tandon's TV show "Phir Wahi Talash" and Shyam Benegal's "Yatra". After "Humrahi", she became a regular feature on Indian television, starring in serials like "Hasratein" on Zee TV in 1995 as an unsatisfied wife forced to marry a man double her age and looking out for extramarital affairs to satiate her needs, "Kasautii Zindagi Kay", "Kyunki Saas Bhi Kabhi Bahu Thi" as Raksha, "Chandni", "Dollar Bahu" (Zee TV), "Josh" (Star Plus), "Ek Ladki Anjaani Si" and most recently in "Ghar Ek Sapna" (Sahara One) and "India Calling" (Star One). She has starred "Baat Hamari Pakki Hai" on Sony Entertainment Television Asia.


title: Himani Shivpuri

text: Though she works mainly in character actor, she has done some memorable roles in films like "Koyla" (1997), "Pardes" (1997), "Dilwale Dulhania Le Jayenge" (1995), "Anjaam" (1994), "Kuch Kuch Hota Hai" (1998) and "Kabhi Khushi Kabhie Gham..." (2001).


title: Himani Shivpuri

text: Over the years she has worked for many film production houses including Yash Raj Films (owned by director Yash Chopra), Rajshri Productions and Dharma Productions (owned by Yash Johar).


title: Himani Shivpuri

text: She briefly appeared in a short documentary film "The Facebook Generation". produced by Blue Strike Productions and Dev Samaj Modern School and Directed by Sahil Bhardwaj. The film competed in the Reel to Real film making competition at Harmony 2012 organised by The Global Education and Leadership Foundation and was among the top 10 finalists.


title: 1960s in music

text: In North America and Europe the decade was particularly revolutionary in terms of popular music, as it saw the evolution of rock and the beginnings of the album era. At the beginning of the 1960s, pop and rock and roll trends of the 1950s continued; nevertheless, the rock and roll of the decade before started to merge into a more international, electric variant. In the early-1960s, rock and roll in its purest form was gradually overtaken by pop rock, beat, psychedelic rock, blues rock, and folk rock, which had grown in popularity. The country- and folk-influenced style associated with the latter half of 1960s rock music spawned a generation of popular singer-songwriters who wrote and performed their own work. Towards the decade's end, genres such as Baroque pop, sunshine pop, bubble gum pop, and progressive rock started to grow popular, with the latter two finding greater success in the following decade. Furthermore, the 1960s saw funk and soul music rising in popularity; rhythm and blues in general remained popular. The fusion of R&B, gospel, and original rock and roll was a success until the mid-part of the decade. Aside from the popularity of rock and R&B music in the 1960s, Latin American as well as Jamaican and Cuban music achieved a degree of popularity throughout the decade, with genres such as bossa nova, the cha-cha-cha, ska, and calypso being popular. From a classical point of view, the 1960s were also an important decade as they saw the development of electronic,


title: 1960s in music

text: In Asia, various trends marked the popular music of the 1960s. In Japan, the decade saw the rise in popularity of several Western popular music groups such as The Beatles. The success of rock music and bands in Japan started a new genre, known as Group Sounds, which was popular in the latter half of the decade.


title: 1960s in music

text: In South America, genres such as bossa nova, Nueva canción and Nueva ola started to rise. Rock music began leaving its mark, and achieved success in the 1960s. Additionally, salsa grew popular towards the end of the decade. In the 1960s cumbia entered Chile and left a long-lasting impact on tropical music in that country.


title: 1960s in music

text: In the late 1950s, a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs. Beat bands were heavily influenced by American bands of the era, such as Buddy Holly and the Crickets (from which group the Beatles derived their name), as well as earlier British groups such as the Shadows. After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the charts, including Cilla Black, Gerry and the Pacemakers and the Searchers. Among the most successful beat acts from Birmingham were the Spencer Davis Group and the Moody Blues. From London, the term "Tottenham Sound" was largely based around the Dave Clark Five, but other London bands that benefited from the beat boom of this era included the Rolling Stones, the Yardbirds and the Kinks. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie and the Dreamers, who were based in Manchester, as were Herman's Hermits. The beat movement provided most of the groups responsible for the British Invasion of the American pop charts in the period after 1964, and furnished the model for many important developments in pop and rock music.


title: 1960s in music

text: By the end of 1962, the British rock scene had started with beat groups like the Beatles drawing on a wide range of American influences including soul music, rhythm and blues and surf music. Initially, they reinterpreted standard American tunes, playing for dancers doing the twist, for example. These groups eventually infused their original rock compositions with increasingly complex musical ideas and a distinctive sound. In mid-1962 the Rolling Stones started as one of a number of groups increasingly showing blues influence, along with bands like the Animals and the Yardbirds. During 1963, the Beatles and other beat groups, such as the Searchers and the Hollies, achieved great popularity and commercial success in Britain itself.


title: 1960s in music

text: British rock broke through to mainstream popularity in the United States in January 1964 with the success of the Beatles. "I Want to Hold Your Hand" was the band's first No. 1 hit on the "Billboard" Hot 100 chart, starting the British Invasion of the American music charts. The song entered the chart on January 18, 1964, at No. 45 before it became the No. 1 single for 7 weeks and went on to last a total of 15 weeks in the chart. Their first appearance on "The Ed Sullivan Show" February 9 is considered a milestone in American pop culture. The broadcast drew an estimated 73 million viewers, at the time a record for an American television program. The Beatles went on to become the biggest selling rock band of all time and they were followed by numerous British bands.


title: 1960s in music

text: During the next two years, Chad & Jeremy, Peter and Gordon, the Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, the Rolling Stones, the Troggs, and Donovan would have one or more No. 1 singles. Other acts that were part of the invasion included the Kinks and the Dave Clark Five. British Invasion acts also dominated the music charts at home in the United Kingdom.


title: 1960s in music

text: The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success. In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 1960s. It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis Presley. The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.


title: 1960s in music

text: In parallel with Beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howlin' Wolf and Muddy Waters. It reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including the Rolling Stones, Eric Clapton, the Yardbirds, Fleetwood Mac and Led Zeppelin.


title: 1960s in music

text: A number of these moved through blues rock to different forms of rock music and as a result British blues helped to form many of the subgenres of rock, including psychedelic rock and heavy metal music. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there have been a renewed interest in the genre.


title: 1960s in music

text: British psychedelia emerged during the mid-1960s, was influenced by psychedelic culture and attempted to replicate and enhance the mind-altering experiences of hallucinogenic drugs. The movement drew on non-Western sources such as Indian music's ragas and sitars as well as studio effects and long instrumental passages and surreal lyrics. Established British artists such as Eric Burdon, the Who, Cream, Pink Floyd and the Beatles produced a number of highly psychedelic tunes during the decade. Many British psychedelia bands of the 1960s never published their music and only appeared in live concerts during that time.


title: 1960s in music

text: The Kingston Trio, the Weavers, Pete Seeger, Woody Guthrie, Odetta, Peter, Paul and Mary, Joan Baez, Bob Dylan, The Byrds, Judy Collins, Leonard Cohen, Joni Mitchell, Carolyn Hester, Phil Ochs, Tom Paxton, Buffy Sainte-Marie, Dave Van Ronk, Tom Rush, Fred Neil, Gordon Lightfoot, Ian and Sylvia, Arlo Guthrie and several other performers were instrumental in launching the folk music revival of the 1950s and 1960s.


title: 1960s in music

text: In the early part of the decade, Elvis Presley continued to score hits. For most of the 60s, Presley mostly released films. Presley decided to get away from films by 1969; his last #1 song on the charts was Suspicious Minds which was released in 1969.


title: 1960s in music

text: By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilizing traditional music and new compositions in a traditional style, usually on acoustic instruments. In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labour politics. In the early sixties figures such as Bob Dylan and Joan Baez had come to the fore in this movement as singer-songwriters. Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.


title: 1960s in music

text: Early attempts to combine elements of folk and rock included the Animals "House of the Rising Sun" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation. The folk rock movement is usually thought to have taken off with the Byrds' recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965. With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre.


title: 1960s in music

text: By the mid-'60s Bob Dylan took the lead in merging folk and rock, and in July '65, released Like a Rolling Stone, with a revolutionary rock sound, steeped in tawdry urban imagery, followed by an electric performance later that month at the Newport Folk Festival. Dylan plugged an entire generation into the milieu of the singer-songwriter, often writing from an urban point of view, with poetry punctuated by rock rhythms and electric power. By the mid to late '60s, bands and singer-songwriters began to proliferate the underground New York art/music scene.


title: 1960s in music

text: The release of "The Velvet Underground & Nico" in 1967, featuring singer-songwriter Lou Reed and German singer and collaborator Nico was described as "most prophetic rock album ever made" by "Rolling Stone" in 2003. Other New York City based singer-songwriters began to emerge, using the urban landscape as their canvass for lyrics in the confessional style of poets like Anne Sexton and Sylvia Plath. In July, 1969, Newsweek magazine ran a feature story, "The Girls-Letting Go," describing the groundbreaking music of Joni Mitchell, Laura Nyro, Lotti Golden and Melanie, as a new breed of female troubadour: "What is common to them are the personalized songs they write, like voyages of self discovery, brimming with keen observation and startling in the impact of their poetry." The work of these early New York based singer-songwriters, from Laura Nyro's "New York Tendaberry" (1969), to Lotti Golden's East Village diaries on "Motor-Cycle" her 1969 debut on Atlantic Records, has served as inspiration to generations of female singer-songwriters in the rock, folk and jazz traditions. Dylan's adoptation of electric instruments, much to the outrage of many folk purists, with his "Like a Rolling Stone" succeeded in creating a new genre. Folk rock particularly took off in California, where it led acts like the Mamas & the Papas and Crosby, Stills and Nash to move to electric instrumentation, and in New York, where it spawned singer-songwriters and performers including the Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic "The Sounds of Silence" being remixed with rock instruments to be the first of many hits.


title: 1960s in music

text: Folk rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock. However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and in particular, helping to develop the ideas of the singer-songwriter, the protest song and concepts of "authenticity".


title: 1960s in music

text: Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues". The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with "The Psychedelic Sounds of the 13th Floor Elevators" the following year.


title: 1960s in music

text: Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965. The Los Angeles-based group the Doors formed in 1965 after a chance meeting on Venice Beach. Although its charismatic lead singer Jim Morrison died in 1971, the band's popularity has endured to this day. The psychedelic life style had already developed in San Francisco since about 1964, and particularly prominent products of the scene were the Grateful Dead, Country Joe and the Fish, the Great Society and Jefferson Airplane. The Byrds rapidly progressed from purely folk rock in 1966 with their single "Eight Miles High", widely taken to be a reference to drug use.


title: 1960s in music

text: Psychedelic rock reached its apogee in the last years of the decade. In America the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the latter helping to make major American stars of Jimi Hendrix and the Who, whose single "I Can See for Miles" delved into psychedelic territory. Key recordings included Jefferson Airplane's "Surrealistic Pillow" and the Doors' "Strange Days". These trends climaxed in the 1969 Woodstock Festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. The Jimi Hendrix Experience broke up before the end of the decade and many surviving acts moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive rock, or riff laden heavy rock.


title: 1960s in music

text: In the early 1960s, one of the most popular forms of rock and roll was Surf Rock, which was characterized by being nearly entirely instrumental and by heavy use of reverb on the guitars. The spring reverb featured in Fender amplifiers of the day, cranked to its maximum volume, produced a guitar tone shimmering with sustain and evoking surf and ocean imagery.


title: 1960s in music

text: Duane Eddy's "Movin' and Groovin" is thought by many to be the main contender for laying the groundwork as the first surf rock record, while others claim the genre was invented by Dick Dale on "Let's Go Trippin'", which became a hit throughout California. Most early surf bands were formed during this decade in the Southern California area. By the mid-1960s the Beach Boys, who used complex pop harmonies over a basic surf rock rhythm, had emerged as the dominant surf group and helped popularize the genre. in hits like Surfin' U.S.A. In addition, bands such as the Ventures, the Shadows, the Atlantics, the Surfaris and the Champs were also among the most popular Surf Rock bands of the decade.


title: 1960s in music

text: Garage rock was a raw form of rock music, particularly prevalent in North America in the mid-1960s and is called such because of the perception that many of the bands rehearsed in a suburban family garage. Garage rock songs often revolved around the traumas of high school life, with songs about "lying girls" being particularly common. The lyrics and delivery were notably more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming such as the influential Washington based band, The Sonics. They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas. The Pacific Northwest states of Washington and Oregon had perhaps the most defined regional sound.


title: 1960s in music

text: The style had been evolving from regional scenes as early as 1958. "Louie Louie" by the Kingsmen (1963) is a mainstream example of the genre in its formative stages. By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise), the Trashmen (Minneapolis) and the Rivieras (South Bend, Indiana). In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a subgenre of garage rock.


title: 1960s in music

text: The British Invasion of 1964–66 greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form. Thousands of garage bands were extant in the US and Canada during the era and hundreds produced regional hits. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966. By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft. New styles had evolved to replace garage rock (including blues-rock, progressive rock and country rock). In Detroit garage rock stayed alive until the early '70s, with bands like the MC5 and the Stooges, who employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.


title: 1960s in music

text: The American blues-rock had been pioneered in the early 1960s by guitarist Lonnie Mack, but the genre began to take off in the mid-'60s as acts followed developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, the J. Geils Band and Jimi Hendrix with his power trios, the Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade. Blues-rock bands like Allman Brothers Band, Lynyrd Skynyrd and eventually ZZ Top from the southern states, incorporated country elements into their style to produce distinctive Southern rock.


title: 1960s in music

text: Roots rock is the term now used to describe a move away from the excesses of the psychedelic scene, to a more basic form of rock and roll that incorporated its original influences, particularly country and folk music, leading to the creation of country rock and Southern rock. In 1966, Bob Dylan spearheaded the movement when he went to Nashville to record the album "Blonde on Blonde". This, and subsequent more clearly country-influenced albums, have been seen as creating the genre of country folk, a route pursued by a number of, largely acoustic, folk musicians. Other acts that followed the back-to-basics trend were the group the Band and the Californian-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country and blues, to be among the most successful and influential bands of the late 1960s. The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George, and influenced the work of established performers such as the Rolling Stones' "Beggar's Banquet" (1968) and the Beatles' "Let It Be" (1970).


title: 1960s in music

text: In 1968, Gram Parsons recorded "Safe at Home" with the International Submarine Band, arguably the first true country rock album. Later that year he joined the Byrds for "Sweetheart of the Rodeo" (1968), generally considered one of the most influential recordings in the genre. The Byrds continued in the same vein, but Parsons left to be joined by another ex-Byrds member Chris Hillman in forming the Flying Burrito Brothers who helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career. Country rock was particularly popular in the Californian music scene, where it was adopted by bands including Hearts & Flowers, Poco and Riders of the Purple Sage, the Beau Brummels and the Nitty Gritty Dirt Band. A number of performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idol Ricky Nelson who became the frontman for the Stone Canyon Band; former Monkee Mike Nesmith who formed the First National Band; and Neil Young. The Dillards were, unusually, a country act, who moved towards rock music. The greatest commercial success for country rock came in the 1970s, with artist including the Doobie Brothers, Emmylou Harris, Linda Ronstadt and the Eagles (made up of members of the Burritos, Poco and Stone Canyon Band), who emerged as one of the most successful rock acts of all time, producing albums that included "Hotel California" (1976).


title: 1960s in music

text: The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul and country in the early 1970s. The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "good ol' boy" image of the subgenre and the general shape of 1970s guitar rock. Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, jazz-leaning Wet Willie and (incorporating elements of R&B and gospel) the Ozark Mountain Daredevils. After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like .38 Special, Molly Hatchet and the Marshall Tucker Band.


title: 1960s in music

text: Progressive rock, sometimes used interchangeably with art rock, was an attempt to move beyond established musical formulas by experimenting with different instruments, song types and forms. From the mid-1960s the Left Banke, the Beatles, the Rolling Stones and the Beach Boys, had pioneered the inclusion of harpsichords, wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach inspired introduction. The Moody Blues used a full orchestra on their album "Days of Future Passed" (1967) and subsequently created orchestral sounds with synthesisers. Classical orchestration, keyboards and synthesisers were a frequent edition to the established rock format of guitars, bass and drums in subsequent progressive rock.


title: 1960s in music

text: Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract or based in fantasy and science fiction. The Pretty Things' "SF Sorrow" (1968) and the Who's "Tommy" (1969) introduced the format of rock operas and opened the door to "concept albums, usually telling an epic story or tackling a grand overarching theme." King Crimson's 1969 début album, "In the Court of the Crimson King", which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts.


title: 1960s in music

text: Chubby Checker during the early 1960s popularizes the enduring dance craze the Twist with his hit cover of Hank Ballard & the Midnighters' R&B hit "The Twist".


title: 1960s in music

text: The Brill Building at 1619 Broadway in New York City became the centre of the American music industry that dominated the pop charts in the early 1960s, nurturing many prolific songwriting partnerships. Gerry Goffin and Carole King become a very influential duo in pop music, writing numerous number-one hits including the first song to ever reach number-one by a girl group, the Shirelles "Will You Love Me Tomorrow" and the 1962 number-one hit, "The Loco-Motion" which was performed by Little Eva. Other hits included "Take Good Care of My Baby" (Bobby Vee), "Up on the Roof" (The Drifters), "I'm Into Something Good" (Herman's Hermits), and "One Fine Day" (The Chiffons). Likewise, songwriting couple Ellie Greenwich and Jeff Barry turned out a stream of charting songs, including "Da Doo Ron Ron", "Be My Baby", "Then He Kissed Me", and "Leader of the Pack"; whilst Barry Mann and Cynthia Weil were behind several major hits of the era, including "You've Lost That Lovin' Feelin'", the recording of which by the Righteous Brothers became the most played record on air in the 20th century.


title: 1960s in music

text: The Monkees were a made for TV band, inspired by the antics of the Beatles in A Hard Day's Night. Under contractual reasons, the group were not allowed to play their own instruments, which led to many feuds between the bandmates and music supervisor, Don Kirshner.


title: 1960s in music

text: Triumph and great tragedy marked the 1960s in country music. The genre continued to gain national exposure through network television, with weekly series and awards programs gaining popularity. Sales of records continued to rise as new artists and trends came to the forefront. However, several top stars died under tragic circumstances, including several who were killed in plane crashes.


title: 1960s in music

text: The predominant musical style during the decade was the Nashville Sound, a style that emphasized string sections, background vocals, crooning lead vocals and production styles seen in country music. The style had first become popular in the late 1950s, in response to the growing encroachment of rock and roll on the country genre, but saw its greatest success in the 1960s. Artists like Jim Reeves, Eddy Arnold, Ray Price, Patsy Cline, Floyd Cramer, Roger Miller and many others achieved great success through songs such as "He'll Have to Go," "Danny Boy," "Make the World Go Away", "King of the Road" and "I Fall to Pieces." The country-pop style was also evident on the 1962 album "Modern Sounds in Country and Western Music", recorded by rhythm and blues and soul singer Ray Charles. Charles recorded covers of traditional country, folk and classical music standards in pop, R&B and jazz styles. The album was hailed as a critical and commercial success, and would be vastly influential in later country music styles. Songs from the album that were released for commercial airplay and record sales included "I Can't Stop Loving You," "Born to Lose" and "You Don't Know Me."


title: 1960s in music

text: By the end of the decade, the Nashville Sound became more polished and streamlined, and became known as "countrypolitan." Tammy Wynette, Glen Campbell, Dottie West and Charley Pride were among the top artists adopting this style. While George Jones — by the early 1960s one of country music's most consistent hitmakers — also recorded countrypolitan-styled music, his background remained pure honky tonk, singing of heartbreak and loneliness in many of his songs. Also, Marty Robbins proved to be one of the genre's most diverse singers, singing everything from straight-ahead country to western to pop to blues ... and even Hawaiian.


title: 1960s in music

text: Johnny Cash, who began his career at Sun Records in the 1950s with hits such as "I Walk The Line," ultimately became one of the most influential musicians of the 1960s (and eventually, 20th century), and was labeled "The Man In Black." Although primarily recording country, his songs and sound spanned many other genres including rockabilly, blues, folk and gospel. His music showed great compassion for minorities and others who were shunned by society, including prison inmates. Two of Cash's most successful albums were recorded live in prison: "At Folsom Prison" and "At San Quentin".


title: 1960s in music

text: During the latter half of the 1960s, Pride — a native of Sledge, Mississippi — became the first African-American superstar in country music, a genre virtually dominated by white artists. Some of his early hits, sung with a smooth baritone voice and in a style meshing honky-tonk and countrypolitan, included "Just Between You and Me," "The Easy Part's Over," "All I Have to Offer You (Is Me)" and a cover version of Hank Williams' "Kaw-Liga." Pride continued to be successful for more than 20 years, amassing an eventual 29 No. 1 hits on the "Billboard" Hot Country Singles chart.


title: 1960s in music

text: A newly emerging style, which had its roots in the 1950s but exploded in the mainstream during the 1960s, was the "Bakersfield sound." Instead of creating a sound similar to mainstream pop music, the Bakersfield sound used honky tonk as its base and added electric instruments and a backbeat, plus stylistic elements borrowed from rock and roll. Buck Owens, Merle Haggard and Wynn Stewart were some of the top artists adopting this sound, and by the late 1960s they were among country music's top selling artists.


title: 1960s in music

text: Among female acts, the most successful of the lot were Loretta Lynn, Tammy Wynette and Dolly Parton. Lynn, a native of Butcher Hollow, Kentucky, and indeed, the daughter of a coal miner, would—with the help of her husband, Oliver "Doolittle" Lynn—gain a recording contract with Zero Records in 1960, and while only her first single ("Honky Tonk Girl") of her early 1960s releases charted, her early recordings were the springboard for much bigger and better things to come. By the latter half of the decade, and continuing into the 1970s, she was recording songs that defied the stereotype of the woman who had to put up with men, their hard drinking, philandering and other negative traits—for instance, "Don't Come Home A-Drinkin' (With Lovin' on Your Mind)"—as well as songs that pushed the genre's conservative boundaries ("Dear Uncle Sam," a song about the Vietnam War) and her willingness to stand up to other women ("You Ain't Woman Enough (To Take My Man)").


title: 1960s in music

text: Parton, a native of the Smoky Mountains town of Locust Ridge, Tennessee, gained national exposure on the nationally syndicated program "The Porter Wagoner Show", on which she began appearing in 1967. Two years earlier, she had signed a recording contract with Monument Records and was pushed as a bubblegum pop singer, but had only minor success before one of her compositions – "Put It Off Until Tomorrow" – became a big hit for Bill Phillips (a track which Parton provided backing vocals) in 1966. Eventually, her mountain-influenced, biographical brand of country and her down-home personality won many fans, and her star power would only begin to rise. Her first major hits were mainly duets with Wagoner, although she had several solo hits—including her breakthrough, "Dumb Blonde"—as well.


title: 1960s in music

text: Wynette gained acclaim with unique perspectives on the classic themes of loneliness, divorce, and the difficulties of life and relationships, illustrated by songs such as "I Don't Wanna Play House" and "D-I-V-O-R-C-E." However, it was "Stand By Your Man," a song pledging of unyielding faithfulness and standing by men despite their shortcomings, that gave Wynette her career hit. By the late 1960s, she was married to fellow country music singer George Jones.


title: 1960s in music

text: Among other female newcomers, Connie Smith was among the most successful, as her breakthrough hit, "Once a Day" spent eight weeks at No. 1 on the "Billboard" Hot Country Singles chart in late 1964 and early 1965, the longest-running chart-topper for nearly 50 years. During a career that has spanned 50-plus years, Smith's songs often explored themes of loneliness and vulnerability.


title: 1960s in music

text: In addition to the syndicated "The Porter Wagoner Show", several other television programs were produced to allow country music to reach a wider audience, such as "The Jimmy Dean Show" in mid-decade. At the end of the decade, "Hee Haw" began a 23-year run, first on CBS and later in syndication; "Hee Haw", hosted by Owens and Roy Clark was loosely based on the comedy series "Rowan & Martin's Laugh In", and incorporated comedy along with performances by the show's cast or guest performers from the country music field. The Academy of Country Music and Country Music Association awards programs were telecast for the first time in the late 1960s.


title: 1960s in music

text: The 1960s were marred with tragedy. Johnny Horton, who sang in the saga-song style, was killed in a car accident in 1960. A March 5, 1963, plane crash claimed the lives of Patsy Cline, Cowboy Copas and Hawkshaw Hawkins. Days later, Jack Anglin was killed in a car accident, while Texas Ruby died in a trailer fire in Texas. In July 1964, Jim Reeves lost his life while piloting a plane near Brentwood, Tennessee. Ira Louvin (one half of the Louvin Brothers) was killed in a car accident in 1965. Success overcame several of those tragic deaths, as both Cline and Reeves had many posthumous hits (with previously recorded songs issued after their deaths) and enjoyed strong followings for many years, while Louvin's brother, Charlie, continued as a successful solo performer for more than 40 years. Other pioneering stars who died during the 1960s included A.P. Carter, Gid Tanner, Moon Mullican, Ernest "Pop" Stoneman, Red Foley, Leon Payne and Spade Cooley.


title: 1960s in music

text: The 1960s began a trend toward a proliferation of No. 1 hits on the "Billboard" Hot Country Singles chart, thanks to ever-changing data collecting methods. When the 1960s decade opened, there were but four No. 1 songs topping the chart (five, if one counts Marty Robbins' "El Paso"), but by the mid-1960s, there were always at least a dozen songs topping the chart annually. In 1967, there were more than 20 songs reaching the top spot for the first time ever in a single calendar year ... and that number would only continue to rise during the next 20 years.


title: 1960s in music

text: Toward the end of the decade, 60s fashion trends began to make its way into country music circles. This was specifically inspired by a song written by singer/songwriter Tom T. Hall about a miniskirt-wearing widowed mother of a teenage girl who was criticized by local school officials for supposedly setting a bad example for her daughter. The song was recorded by a young secretary named Jeannie C. Riley, who developed a mod persona in connection with the song by performing onstage in short skirts and go-go boots. Other female country artists began to follow suit in the years that followed, also appearing onstage in miniskirts and minidresses. The song reached both the country and pop charts in 1968; and to this day, "Harper Valley PTA" remains the most requested song in Riley's concerts.


title: 1960s in music

text: It was attention to detail in songs like "Harper Valley PTA" that made Hall one of the genre's most renowned songwriters, starting in mid-1960s, and earned him the nickname "The Storyteller." His first hits were as a songwriter, with "Hello Vietnam," recorded by Johnnie Wright (husband of Kitty Wells), becoming Hall's first songwriting No. 1 single in 1965. By the late 1960s, Hall began having hits of his own, with songs like "The Ballad Of Forty Dollars" and "Homecoming" both becoming top-10 hits and showcasing his storytelling talents, and that success continued into the 1970s and 1980s.


title: 1960s in music

text: This Brazilian musical style, which means "New Trend", had its origins in the upscale neighbourhoods of Rio de Janeiro. Immensely popular in the early 1960s, it was a fusion of samba and cool jazz. Antonio Carlos Jobim, João Gilberto, Astrud Gilberto, and Vinicius de Moraes became some of the best known artists of the Bossa Nova movement. The latter's The Girl From Ipanema, released in 1964, became the first Bossa Nova song to achieve international acclaim. In 1965, it won a Grammy Award for Best Record of the Year.


title: 1960s in music

text: Another prominent Latin pop group was Sergio Mendes and Brazil '66. Their songs included Mas Que Nada, The Joker, and Agua de Beber. In 1966 the group was nominated for a Grammy award for Best Performance by a Duo or Musical Group. They eventually became Sergio Mendes and Brazil '77, and continued playing their brand of Latin pop into that decade.


title: 1960s in music

text: It was during the 60s that rock music began to gain acclaim in Latin America. In Spanish speaking South America musicians who adopted US and British inspired rock, mainly rock and roll, twist and British Invasion music, were collectively labelled as Nueva ola (Spanish for "New Wave"). Argentina, having his own Rock and Roll and British Invasion inspired bands and artist, Sandro de América, , , Los Gatos Salvajes, Los Beatniks, Los Buhos, among others. suffered the Uruguayan Invasion, a series of British Invasion inspired rock bands from Montevideo that moved to Buenos Aires and soon became popular in Argentina Los Shakers, Los Mockers, Los Iracundos. Rock music was during the 60s still largely sung in English, but some bands like Los Mac's and others mentioned above used Spanish for their songs as well. During the 1960s, most of the music produced in Mexico consisted on Spanish-language versions of English-language rock-and-roll hits. Singers and musical groups like Angelica Maria, César Costa, Enrique Guzmán performed cover versions of songs by Elvis Presley, Nancy Sinatra, Paul Anka and others.


title: 1960s in music

text: During the 1960s Nueva Canción emerges and starts to expand its influence. This development is pioneered by the Chileans Violeta Parra and Victor Jara who base many of their songs in folklore, specially cueca. Nueva Canción spreads quickly all over Latin America and becomes closely related to the New Left and the Liberation theology movements. In Francisco Franco's Spain Joan Manuel Serrat reaches widespread notability as an exponent of Nueva Canción and of the political opposition.


title: 1960s in music

text: Even though salsa music began to take form in a New York scene dominated by Cubans and other Latin American communities, Salsa would not become popular all across Latin America until the late 1980s and is now here today.


title: 1960s in music

text: Astor Piazzolla won the First Ibero American Music Festival in 1966 with the song "Balada para un loco", that launched him worldwide introducing his New Tango style Nuevo Tango


title: 1960s in music

text: Música cebolla, a style of music loaded with sentimentality, had its heyday in Chile despite being derided or ignored by mass media.


title: 1960s in music

text: The 1960s saw increasing interest in how electronic music could solve both compositional and more practical problems. Composers were also absorbing ideas from overseas, such as indeterminacy and electro-acoustic music, and interpreting them in an Australian context to mixed responses from local audiences.


title: 1960s in music

text: Early in the decade, Bruce Clarke began toying with the new Moog synthesizer. A musicians' strike led him to create a completely electronic soundtrack for a cigarette commercial in 1963. Innovative film makers, like Arthur Cantrill and Dušan Marek, employed tape manipulation, turntables and extended instrument techniques to create soundtracks for their short films. Avowed amateur and Melbourne physician, Val Stephen, became the first Australian to have electronic music released internationally.


title: 1960s in music

text: After working among the musical avant-garde in Paris, Keith Humble's return to Australia helped to encourage educational institutions to take electronic music seriously. Humble's most notably experimental work was his Nunique series. These vast multimedia events featured simultaneous performances by rock bands, string quartets and theatre ensembles, all according to precise flowcharts.


title: 1960s in music

text: Humble initiated the Melbourne-based Society for the Private Performance of New Music in 1966, providing a supportive performance space for young innovators both in and outside the academy. Among these were the McKimm/Rooney/Clayton trio, who, since the 1964, had been incorporating graphic scores and aspects of serialism into jazz improvisation. Jazz was radicalizing at the fringes: John Sangster explored free jazz concepts and Charlie Munro incorporated Eastern musical elements. Syd Clayton would leave jazz behind in pursuit of a new form of experimental music theatre that incorporated chance operations along with sports and games as musical structures.


title: 1960s in music

text: Young composers, like David Ahern, emerged, initially inspired by ideas of the European avant-garde, and applying them to Australian icons, such as Captain Cook and Ned Kelly. Ahern would travel to Europe later in the 1960s, where he encountered Stockhausen and Cardew, before returning home with further more radical ideas that questioned the very premises of composer and music itself.


title: 1960s in music

text: It's difficult to gauge the lasting impact of 1960s music in popular culture. A 2010 European survey conducted by the digital broadcaster Music Choice, interviewing over 11,000 participants, rated the decade rather low, with only 19% declaring it the best tune decade in the last 50 years, while participants of an American land line survey rated the 1960s a bit higher, with 26% declaring it as best decade in music.


title: 1960s in music

text: The song Vivo cantando was joint winner of ... with the United Kingdom's "Boom Bang-a-Bang" performed by Lulu, "De troubadour" by Lenny Kuhr representing the Netherlands, and "Un jour, un enfant" sung for France by Frida Boccara. It was Spain's second winning entry in the contest and the last to date.


title: MIT Sloan School of Management

text: The MIT Sloan School of Management (MIT Sloan or Sloan) is the business school of the Massachusetts Institute of Technology, a private university in Cambridge, Massachusetts.


title: MIT Sloan School of Management

text: MIT Sloan offers bachelor's, master's, and doctoral degree programs, as well as executive education. Its degree programs are among the most selective in the world.


title: MIT Sloan School of Management

text: MIT Sloan emphasizes innovation in practice and research. Many influential ideas in management and finance originated at the school, including the Black–Scholes model, the Solow–Swan model, the random walk hypothesis, the binomial options pricing model, and the field of system dynamics. The faculty has included numerous Nobel laureates in economics and John Bates Clark Medal winners.


title: MIT Sloan School of Management

text: The MIT Sloan School of Management began in 1914 as the engineering administration curriculum ("Course 15") in the MIT Department of Economics and Statistics. The scope and depth of this educational focus grew steadily in response to advances in the theory and practice of management.


title: MIT Sloan School of Management

text: A program offering a master's degree in management was established in 1925. The world's first university-based mid-career education program—the Sloan Fellows program—was created in 1931 under the sponsorship of Alfred P. Sloan, himself an 1895 MIT graduate, who was the chief executive officer of General Motors and has since been credited with creating the modern corporation. An Alfred P. Sloan Foundation grant established the MIT School of Industrial Management in 1952 with the charge of educating the "ideal manager". In 1964, the school was renamed in Sloan's honor as the Alfred P. Sloan School of Management. In the following decades, the school grew to the point that in 2000, management became the second-largest undergraduate major at MIT. In 2005, an undergraduate minor in management was opened to 100 students each year. In 2014, the school celebrated 100 years of management education at MIT.


title: MIT Sloan School of Management

text: Since its founding, the school has initiated many international efforts to improve regional economies and positively shape the future of global business. In the 1960s, the school played a leading role in founding the first Indian Institute of Management. Other initiatives include the MIT-China Management Education Project, the International Faculty Fellows Program, and partnerships with IESE Business School in Spain, Sungkyunkwan University in South Korea, Universidade Nova de Lisboa in Portugal, the Skolkovo Moscow School of Management in Russia, and Tsinghua University in China. In 2014, the school launched the MIT Regional Entrepreneurship Acceleration Program (REAP), which brings leaders from developing regions to MIT for two years to improve their economies. In 2015, MIT worked in collaboration with the Central Bank of Malaysia to establish Asia School of Business in Kuala Lumpur, Malaysia.


title: MIT Sloan School of Management

text: The curriculum is focused on action learning, which requires that students apply concepts learned in the classroom to real-world business settings. Courses are taught using the case method, lectures, team projects, and hands-on Action Learning Labs. The academic level of coursework is considered extremely demanding by business school standards, with a greater emphasis on analytical reasoning and quantitative analysis than most programs.


title: MIT Sloan School of Management

text: Academic rigor has a strong influence on the school's culture. The first semester, also known as the core, is often considered the most difficult semester by design. Courses are graded using letter grades and on the standard five-point MIT scale. In its graduate programs, anything less than a 4.0 ('B') average will result in the student not being allowed to graduate. Unlike most business schools, MIT Sloan does not offer any academic honors at graduation, consistent with the practice throughout all of MIT. The philosophy behind this is that the 'honor' is in being an MIT graduate.


title: MIT Sloan School of Management

text: MIT Sloan closely collaborates with other parts of MIT, in particular the School of Engineering, the School of Science, and the Department of Economics. A special joint degree program with the School of Engineering is the Leaders for Global Operations (LGO) program, where students concurrently complete an MBA and a Master of Science in Engineering. Another joint degree program aimed at students with more industry experience (an average of 8 to 10 years) is the System Design and Management (SDM) program, where students complete a Master of Science in Engineering and Management. Whereas Sloan Fellows focus primarily on management coursework, LGO and SDM fellows complete a relatively equal mixture of engineering and management coursework.


title: MIT Sloan School of Management

text: MIT also collaborates extensively with Harvard University, and students at each institution often pursue simultaneous degrees at the other. MIT Sloan students can freely cross-register for courses at Harvard Business School, and vice versa—the only leading business schools to have such an agreement. As a result, a number of courses have been created at each institution that regularly attract cross-registered students. MIT Sloan and the Harvard Kennedy School offer a formal dual degree program.


title: MIT Sloan School of Management

text: In a 2014 article, the school's Dewey Library was rated the best business school library in the country. In 2016, the school's MBA program was ranked #2 worldwide for social and environmental impact by "Corporate Knights" magazine.


title: MIT Sloan School of Management

text: MIT Sloan students and alumni informally call themselves "Sloanies". The MIT Sloan culture is similar to, but also distinct from, overall MIT culture, and is influenced most strongly by its MBA program. MBA students come from more than 60 countries every year, with just over half coming from North America, and 60% holding US citizenship. Prior to business school, engineering is the most popular undergraduate major among students. 40% of the class is female.


title: MIT Sloan School of Management

text: Creativity and invention are constant themes at the school. The MBA track in "Entrepreneurship & Innovation" features action learning labs which pair students with companies to learn how to solve complex problems relating to emerging technologies. These action learning labs include "Entrepreneurship Lab", "Innovation Teams", and "Leading Sustainable Systems Lab". "Global Entrepreneurship Lab" and "Global Health Delivery Lab" send MBA students to work onsite with startups in different parts of the world. The Martin Trust Center for MIT Entrepreneurship, one of the few business school entrepreneurship centers in the world focused on high tech, offers many other entrepreneurial activities and mentorship throughout the year. The annual MIT $100K Entrepreneurship Competition is one of the largest business plan competitions in the world, helping to launch more than 130 companies with a market capitalization of over $15 billion.


title: MIT Sloan School of Management

text: A staple of MIT Sloan MBA life is the weekly "C-Function", which stands for "cultural function" or "consumption function". The school sponsors food and drink for all members of the MIT Sloan graduate community to enjoy entertainment organized by specific campus cultural groups or clubs as well as parties with non-cultural themes. C-Functions are usually held most Thursdays in the Walker Memorial building, which is also used as the venue for many other MIT Sloan community events. MIT Sloan alumni groups around the world also organize C-Functions for their club members, for social and networking activities.


title: MIT Sloan School of Management

text: Students at MIT Sloan run over 70 active clubs. Some of the most popular clubs are the "Sloan Women in Management Club"; the "Entrepreneurship & Innovation Club"; the "Design Club"; the "Finance Club"; the "Management Consulting Club"; the "Entertainment, Media and Sports Club"; the "Venture Capital and Private Equity Club"; the "Product Management Club"; and the "Technology Club". The "Sloan Business Club" is the official undergraduate business club for all MIT students.


title: MIT Sloan School of Management

text: Throughout the school year, a number of professional and academic conferences are organized by, or in partnership with, the school. Annual highlights include the MIT $100K Entrepreneurship Competition, the MIT Venture Capital & Innovation Conference, the Sloan Women in Management Breaking the Mold Conference, the MIT Sloan CIO Symposium, and the MIT Sloan CFO Summit. The most visible conference—and the largest student-run conference in the world—is the MIT Sloan Sports Analytics Conference, which "Fast Company" ranked the #3 most innovative sports company, behind only the NFL and MLB Advanced Media. The conference brings managers, players, and coaches from over 80 professional sports teams together with journalists, researchers, and students from over 170 different schools. With its focus on analytics in the sports industry, Bill James, the creator of Sabermetrics, said that "this conference is a culmination of 30 years of my work."


title: MIT Sloan School of Management

text: Like the rest of the institute, MIT Sloan students have an extended period between semesters reserved for special activities. During the month of January, there are no formal classes at the school; instead, they are replaced by what is known as the Independent Activities Period (IAP). During IAP, students engage in activities that would be challenging to participate in alongside regular classes, often including international travel programs. In the middle of semesters, the MBA program has an additional, shorter gap, called the Sloan Innovation Period (SIP), focusing on intensive experiential leadership activities outside of the classroom.


title: MIT Sloan School of Management

text: After commencement, MIT Sloan graduates wear the MIT class ring, known as the "Brass Rat". Top recruiters of new MBA graduates of the school include Apple, Google, Goldman Sachs, McKinsey & Company, Nike and Amazon. The school has over 20,000 alumni globally in 90 countries, with more than 20% who are presidents or CEOs. More than 650 companies have been founded by alumni of the school, including Akamai, E*Trade, Gartner, Genentech, HubSpot, Lotus Software, Teradyne, Zipcar, and Okta.


title: I Wanna Be Your Slave

text: "I Wanna Be Your Slave" (stylized in all caps) is a song by Italian rock band Måneskin, from their second studio album, "" released on 19 March 2021 by Sony. Prior to its release as a single, the song managed to reach top-ten positions on charts across Europe, including number one in Finland and Slovakia, and went viral on the Spotify charts. It is the band's first song to reach the top 5 of the UK Singles Chart, and second to reach top 10 of "Billboard" Global Excl. U.S. chart.


title: I Wanna Be Your Slave

text: On 16 July 2021, the song was issued to Italian radio stations as the third single from "Teatro d'ira: Vol. I". A duet version featuring American punk-rock singer Iggy Pop was released on 6 August 2021.


title: I Wanna Be Your Slave

text: The song talks about duality in love relationships, the "obsession and how they're willing to enslave themselves if that's what it takes to win over that special someone." According to lyricist Damiano David, the song "crudely describes all the facets of sexuality and how they can be influential in everyday life. We have inserted some contrasts: 'I'm the devil, I'm a lawyer, I'm a killer, I'm a blonde girl', we want to convey the idea that we don't need to have a single identity, everyone can have many facets."