Happy 13th Birthday Google

Happy 13th Birthday Google

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Biography Of Albert Szent-Györgyi

Biography Of Albert Szent-Györgyi : Albert Szent-Györgyi:

Albert Szent-Györgyi was an Austrian biochemist and Nobel laureate.

Birth:

September 16, 1893 in Budapest, Austria-Hungary

Death:

October 22, 1986 in Woods Hole, Massachusetts

Claim to Fame:

Szent-Györgyi an Austrian biochemist who was awarded the 1937 Nobel Prize in Medicine for discovering the roles of organic compounds and the oxidation of nutrients by cells, with special attention to vitamin C. He discovered and isolated a reducing acid from plant juices and adrenal gland extracts. He called this agent hexuronic acid but further study determined it to be ascorbic acid discovered earlier by Axel Holst and Alfred Fröhlich. He also identified the steps in the citric acid cycle.

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Biography Of Freddie Mercury

Biography Of Freddie Mercury  : Freddie Mercury was born Farrokh Bulsara on Thursday September 5th 1946 on the small spice island of Zanzibar. His parents, Bomi and Jer Bulsara, were both Parsee (Persian). His father, Bomi, was a civil servant, working as a High Court cashier for the British Government. Freddie's sister, Kashmira, was born in 1952. In 1954, at the age of eight, Freddie was shipped to St Peter's English boarding school in Panchgani, about fifty miles outside Bombay. It was there his friends began to call him Freddie, a name the family also adopted.

As St Peter's was an English school, the sports played there were typically English. Freddie loathed cricket and long-distance running, but he liked hockey, sprint and boxing. At the age of 10 he became a school champion in table tennis. Freddie was not only a good sportsman, his artistic skills were incomparable. At the age of twelve he was awarded the school trophy as Junior All-rounder. He loved art, and was always sketching for friends or relatives.

He was also music mad and played records on the family's old record player, stacking the singles to play constantly. The music he was able to get was mostly Indian, but some Western music was available. He would sing along to either and preferred music to school work.

The principal headmaster of St Peter's had noticed Freddie's musical talent, and wrote to his parents suggesting that they might wish to pay a little extra on Freddie's school fees to enable him to study music properly. They agreed, and Freddie began to learn to play the piano. He also became a member of the school choir and took part regularly in school theatrical productions. He loved his piano lessons and applied himself to them with determination and skill, finally achieving Grade IV both in practical and theory.

In 1958, five friends at St Peter's - Freddie Bulsara, Derrick Branche, Bruce Murray, Farang Irani and Victory Rana - formed the school's rock'n roll band, the Hectics, where Freddie was the piano player. They would play at school parties, at annual fetes and school dances, but little else is known about them.
In 1962, Freddie finished school, returned to Zanzibar and spent his time with friends in and around the markets, parks and beaches. In 1964, many of the British and Indians, due to political unrest in Zanzibar, left their country, although not under forcible pressure, and among those driven out were the Bulsaras who migrated to England.

Initially they lived with relatives in Feltham, Middlesex, until they were able to find their own small, terraced house in the area. Freddie was seventeen, and had derided he wanted to go to art college, but needed at least one A level to ensure he could get in. In September 1964 he enrolled at the nearby Isleworth Polytechnic
During vacations he took a variety of jobs to earn some money; one was in the catering department at Heathrow Airport, a stone's throw from home, and the other was on the Feltham trading estate, where he had a job in a warehouse lifting and stacking heavy crates and boxes. His fellow workers commented on his 'delicate' hands, certainly not suited for such work, and asked him what he did. He told them he was a musician just 'filling in time', and such was his charm that those co-workers were soon doing the lion's share of his work.

He studied hard, although he preferred the aesthetic side of school life to the more mundane academic side, and easily achieved his Art A level, leaving Isleworth in the spring of 1966. His grade A pass and his natural skill ensured that he was readily accepted by Ealing College of Art and, in September 1966, Freddie began a graphic illustrating course at that college.

After Jimi Hendrix exploded onto the scene in 1967, and Freddie became an ardent fan, he spent time sketching and drawing his hero; drawings he would frame and use to decorate the walls of his flat in Kensington, rented by his friend Chris Smith, where Freddie had moved from the family home in Feltham. At that time Kensington was an important place to be for the art crowd - it was the base of the famous Biba boutique and the home of Kensington Market, frequented by the then 'in' crowd.

A fellow student at Ealing College was bass player Tim Staffell, with whom Freddie became good friends. As Tim's and Freddie's friendship became closer, Tim took him along to rehearsals of his band called Smile, with Brian May on the guitar and Roger Taylor on the drums. Freddie got on famously with Brian and Roger and loved the sound that Smile had achieved; he also had immense admiration and respect for Brian's guitar-playing. Inspired by Smile, Freddie began to experiment with music for the first time since leaving India.

He initially began to practice with Tim, another art student Nigel Foster, and with Chris Smith. "The first time I heard Freddie sing I was amazed," recounts Chris. "He had a huge voice. Although his piano style was very affected, very Mozart, he had a great touch. From a piano player's point of view, his approach was unique."
"Freddie and I eventually got to write little bits of songs which we linked together," adds Chris. "It makes sense when you consider Bohemian Rhapsody. It was an interesting way getting from one piece in a different key signature to another. But I don't think we actually finished anything. Freddie certainly taught me a lot at those sessions. He had great, natural sense of melody. I picked that up straight away. For me it was the most interesting aspect of what he was doing."

Freddie left Ealing College in June 1969, with a diploma in graphic art and design, and a few commissions for adverts in local newspapers. He moved into Roger Taylor's flat, and that summer opened a stall with Roger at Kensington Market, initially selling artwork by himself and fellow Ealing students, and later Victorian or whatever clothes, new and secondhand, he could lay his hands on.

In the summer of 1969 Freddie was introduced to a Liverpool band called Ibex, who had come to London to try to make a name for themselves. Ibex were a three-piece, with guitarist Mike Bersin, John 'Tupp' Taylor on bass and Mick 'Miffer' Smith on drums. They also brought with them their apprentice manager, roadie and general dogsbody Ken Testi; part-time bass player Geoff Higgins used to travel down for occasional gigs. Geoff would play bass when Tupp, a great Jethro Tull fan, wanted to play flute.

Freddie first met Ibex on 13th August 1969. Such was his enthusiasm, that just ten days later, he'd learned the band's set, brought in a few new songs, and had traveled to Bolton, Lancashire, for a gig with them - his debut public performance. The first date was 23rd August, and the occasion was one of Bolton's regular afternoon 'Bluesology' sessions, held at the town's Octagon Theatre. On the 25th August, Ibex appeared in the first 'Bluesology pop-in', an open-air event on the bandstand in Bolton's Queen Park, and the proceedings were covered in Bolton's 'Evening News'. This even featured an uncredited photograph of Freddie.
While Freddie's trip to Bolton with Ibex was photographed, Ibex's appearance at the Sink was recorded. This recording was made by Geoff Higgins; as he says, tape is chronic quality, but it demonstrates Ibex's love of Cream, Jimi Hendrix, as well as Freddie's favourite of the day, Led Zeppelin.

Somewhere between 9th September and the end of October 1969 Ibex underwent a mini upheaval - at Freddie's instigation. "I recall him canvassing the idea of calling the band Wreckage, but nobody was very enthusiastic," reveals Mike Bersin. "Then he phoned me one night and said, 'The others don't mind. How do you feel?' I said, 'If they agree, then fine'. When I spoke to the others about it, Freddie had phoned them all up and had the same conversation."
The name-change went hand-in-hand with the departure of drummer Mike 'Miffer' Smith. He was replaced by Richard Thompson, the former drummer in Brian May's 1984. Despite flashes of true potential, the end of the 1960s also marked the end of Wreckage. Gigs were few and far between, and while John Taylor, Richard Thompson and Freddie remained in London, Mike Bersin was committed to his college course in Liverpool, as he promised to his parents. Inevitably, the band petered out.

Freddie started to search for another band for himself. He found Sour Milk Sea after seeing a "Vocalist Wanted" advert in the 'Melody Maker'. The pomp and ceremony were impressive, and the band he was auditioning for knew he was the right man, especially when he got around to singing. Freddie had a great voice, with terrific range. But there was not only his voice that made his performances so attractive to people. "He knew how to front a show," - Ken Testi recalls. "It was his way of expressing that side of his personality. Everything he did on stage later in Queen, he was doing with Ibex at his first gig." It wasn't anything that could be developed. It was his charisma, his pure natural gift that was in perfect harmony with his voice, his appearance, his delicate taste and his musicianship in the wide sense of the word. The fact that he realized it himself made him absolutely fascinating!
They offered him the job, and in late 1969 Freddie became the lead singer with Sour Milk Sea. The other members of the band were Chris Chesney on vocals and guitar, bass player Paul Milan, Jeremy 'Rubber' Gallop on rhythm guitar and Rob Tyrell on drums. They did a few rehearsals, and then a few gigs in Oxford (Chris's home town).

Freddie and Chris, who was about seventeen at the time, became close friends and Chris moved into the house that Freddie shared with Smile in Ferry Road, Barnes. The other members of Sour Milk Sea were more than a little peeved Chris and Freddie spent so much time together, and felt rather insecure about the future of the band. After just two months Jeremy, who owned nearly all the equipment, derided to take it back and break up the band.

In April 1970 Tim Staffell decided to leave Smile, and Freddie join them as lead singer. Freddie decided to change the name of the band to Queen, he also changed his last name to Mercury.
The further biography of Freddie Mercury is to considerable degree a story of Queen.
In 1970 Freddie met Mary Austin. They lived together for seven years and remained good friends until his death.

In 1971 John Deacon joined the band and Queen were complete. Freddie designed the band's logo using their birth signs: two fairies for him (Virgo), two lions for Roger and John (Leo) and a crab for Brian (Cancer). Freddie was the author of the first Queen song that entered the British charts (Seven Seas Of Rhye), the first big hit (Killer Queen) and the most famous Queen song that was on the top of charts for 9 weeks (Bohemian Rhapsody). Freddie has always been considered the front-man of the band.
In 1975 Queen toured Japan. A crowd of screaming fans followed them everywhere. They were taken by surprise at the strength of their reception. Freddie fell in love with Japan and soon became a fanatical collector of Japanese art and antiquities.

On October 7th, 1979 Freddie performed with the Royal Ballet. He had never done any ballet before, but it was something he had always wanted to try. The songs he had chosen to perform to were Bohemian Rhapsody and Crazy Little Thing Called Love. Songs were played by the orchestra with Freddie doing live vocals. Freddie's first dance was Bohemian Rhapsody, and he performed with skill in front of a packed house of enthusiastic balletomanes, who loved him, and he received a standing ovation for both his cameo performances.

In 1980 Freddie changed his image. He cut his hair and grew a moustache. His fans began to send him gifts of nail polish and razor blades.

At the end of 1982 Queen all agreed they wanted to take break from each other. They announced they wouldn't be touring throughout 1983. Freddie had been thinking of making a solo album for some time, and at last he had time to do something about it. He booked studio time at Musicland in Munich and began work in early 1983. During that time he was introduced to Georgio Moroder, who was working on a re-release of the 1926 Fritz Lang silent science fiction film Metropolis. He wanted to put a contemporary musical score to the film. He asked Freddie to consider collaborating on a track for the film to which Freddie agreed. He had never before co-written with anyone outside Queen, and had not recorded anyone else's compositions, apart from Larry Lurex. The result of this co-operation was the song Love Kills.

In 1983 Freddie attended a performance of Verdi's Un Ballo In Maschera at the Royal Opera House sometime in May. It was the first time when he saw Spanish opera diva Montserrat Caballé, and the sheer power and beauty of her voice mesmerized him.

On September 10, 1984 Freddie's first solo single was released. It was the track he had co-written with Georgio Moroder for Metropolis, Love Kills.

The first single from his forthcoming solo album was I Was Born To Love You. It was released on April 9, 1985. Three weeks later Freddie's first solo album Mr. Bad Guy was released on CBS Records.
July 13, 1985 was a special day for Queen and Freddie. It was the day of their memorable performance at Live Aid, a tremendous show at Wembley Stadium in front of 72,000 people. Live Aid was also broadcast to over one billion people worldwide. Queen secured their place in history, as every media person, journalist, fan and critic unanimously agreed: Queen stole the show.

The early part of 1987 was very quiet for Queen, so Freddie took the opportunity to go into Townhouse Studios to do some solo work. It resulted in a remake of the classic Platters' song The Great Pretender. The single was released on February 23rd.

In March 1987 Freddie flew to Barcelona to meet Montserrat Caballé. He gave her a cassette with two or four songs. The Spanish opera diva liked these songs and even performed one of them at London's Covent Garden. Freddie was delighted. In early April, Freddie began work on the album he agreed to record with Montserrat Caballé.

At the end of May the island of Ibiza staged a huge festival at the outrageous Ku Club. Freddie agreed to be a guest of honour and closed the event with Montserrat Caballé singing the song he had written for her and her home city, Barcelona.

On October 8th, 1988 Freddie and Montserrat appeared at the huge open air La Nit festival in Barcelona. They performed three tracks from their forthcoming album - How Can I Go On, The Golden Boy and Barcelona, accompanied by Mike Moran on piano. The long-awaited album, Barcelona, finally come out on October 10th.
October 8th was the last time Freddie Mercury performed on stage. At the time, he was terribly ill with AIDS, although he didn't want people to know about it. He announced that fact the day before he died. Being ill he continued to compose and record songs and even took part in making videos. In my opinion, I'm Going Slightly Mad video is his masterpiece.
On November 24th, 1991 Freddie died peacefully at his home in London of AIDS-related bronchial pneumonia.

On April 20th, 1992 a tribute concert in Freddie's memory was held at Wembley Stadium, and many famous rock stars took part in it. But the best tribute to Freddie was the album Made In Heaven, released on November 6th, 1995 by the three remaining members of Queen. We can hear the last songs that Freddie composed and recorded.

Thank you Freddie. We love you.

Jacky Gunn & Jim Jenkins. As It Began.

Record Collector #199

Friend Content Source : http://www.freddie.ru/e/bio/

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Biography of Jorge Luis Borges

 Biography of Jorge Luis Borges

Google Doodle Celebrates 112th Birthday of Author Jorge Luis Borges : There are writers that only require a single book to gain admission into Literature's Kingdom: Cervantes with El Quijote, Joyce with Ulysses, Milton with Paradise lost… the list could be infinite. Others, such as Quevedo, Eliot, and Gide, gain immortality not because of one book in particular, but because of their entire oeuvre. Borges belongs to this second group.
When one thinks of Borges, one thinks more of a literature, than of a writer. Borges' stories and poems are aimed at the universe, unlike the writer with clearly defined scopes and goals whose book only reaches those goals. Through out his vast oeuvre, one keeps discovering the man of refined intellect, the philosopher, the "writer for writers" as he was considered some twenty years ago, in a somewhat dismissive way. He was not a writer for the masses, not for the people, mind you, when political propaganda was rampant in Latin America, and it was easy to divide the world in two.


Borges' greatness does not fit into one book. His artistry belongs to both fiction and poetry. It was fashionable to consider Borges the story teller superior to Borges the poet. I disagree. Partiality for his prose is due to Borges' own insecurities with his earlier poetry. In his youth, Borges helped create the ultraist movement. A movement, whose main ideals were to be "enemies of rhyme" and "to place the metaphor above anything else", as Borges, somewhat jokingly explained many years later. It was a time, when Borges longed to be (as he himself confessed) Whitman. Among his concerns in those poems of youth was to be Argentinean, to write like Argentineans, with Argentinean's dialect and vocabulary.

After his third book of poetry, San Martín Notebook, he decided to forget about poetry and concentrated on writing his marvelous short stories and essays. His two most famous collections of short stories were written in this period: "Fictions" and "The Aleph". Stories that, as literature's ultimate game, confused and tricked readers with the almost scholarly approach he took. These stories pretended to be essays when in fact they were great creations of fiction. An example: "Pierre Menard, author of el Quijote". This story, which deals with a man who tried to write el Quijote in the 20th-century, was so intricate, the bibliography so thoroughly explained, that many people actually started looking for a Pierre Menard biography and his writings in libraries!

Nonetheless, I'd say that Borges' greatest virtue is the rediscovery of the Spanish language. Taking the language towards regions that had not before been visited and using words with the greatest of clarity and precision than any Spanish writer of this century. More than anything Borges is a great verbal writer. His descriptions, his use of adjectives, are always outstanding. An example from his fiction: "Nobody disembarked in the unanimous night" One from his poetry: "It was known by the arduous students of Pythagoras"


The great elegance with which Borges addresses his themes, the beauty of his language, the fascination caused by the way he viewed Literature, have caused a somewhat deadly influence in many writers. I am not Borgessurprised by the dominance that Borges had on Literature. Similar to that exercised by Joyce, Eliot, and Goethe in their own time. His style, so clear and precise, is easy to fall in love with and consciously or unconsciously imitate. Borges had an answer to this, something he wrote while still a young writer, unaware that it could later be applied to him: "One tends to criticize writers who clearly imitate a particular writer. I don't think it's plagiarism or something done intentionally, but when one does that it's due to the fact that he believes that writer represents what Literature is."

Borges' favorite themes include courage, bravery, and specific archetypal objects, such as the labyrinth, tigers, swords, the sea, which are used as symbols for metaphysical problems (mainly the problem of time). Borges always neglected both "realism" and psychology in literature. He did notBorges think that literature's aim should be to teach or to dwell deeply on characters lives in order to know about them. Borges seemed content to writing fictions, and creating sophisticated and ingenious mind games.


It is amusing that critics are always looking for things that for them are important in Borges' work. A good example of this is the critically perceived theme of homosexuality in one of his most famous stories: "The Intruder", a story that tells of two very close brothers and how their lives are affected when they meet a woman whom both fall in love with. Borges returned to poetry in the 50s with a very important book: "The Maker". His return to poetry occurred after he went blind. It was easier to "write" poems in his head and then have someone transcribe them to paper, (although he also began many great stories in this way). Starting with "the Maker", Borges retook some traditional forms, specifically the sonnet. He created wonderful poems, such as: "The poem of the gifts", "Chess", "The Golem", "Labyrinth", and many more. His poetry added another topic he barely addressed in his works of fiction: love.

Although as stated, he continued writing fiction, his great poetry came in the 60's and 70's with books such as: "The other, the same", "In praise of the shadow", "The gold of tigers", "History of the night", "The iron coin", "The unending Rose". Borges' life was peaceful. He did not have the political impetuosity of Neruda, he did not worry about approaching the political figures as García Márquez. His love life was certainly not one to be envied. He always had by his side the imposing figure of his mother who took care of his literary career and more often than not, found fault with the few women Borges managed to attract.


Borges married twice, both times when he was already an old man. His first marriage was a disaster, so much that he removed a poem written for his first wife from the book "In praise of the shadow" in its later editions. His second wife was woman who had been his trusted secretary and had, to an extent, taken over his life near its end. Borges married her shortly before his death. He seemed to have been happy with her and found some solace in her devotion towards him.

It is hard in this century for man to only dedicate himself to literature and neglect politics, and for this Borges was staunchly criticized. This was viewed as sinful (how can one forget Sartre's lapidary comment regarding the duty of writers from underdeveloped countries?). For that he was attacked and judged most arbitrarily. The attitude seemed to be, "I like or dislike what you write based on your political opinions."

It is almost useless to talk about the Nobel Prize. Who deserved it more than Borges did? But in Sweden his political skepticism was viewed as a form of corruption, as a way of agreeing with the atrocities of the juntas that governed many South American nations in the 70s. Borges proved that it was not enough to be a great writer, nor was it enough to change the course of Literature. One had to have strong political convictions as well. Go out to the street, sign manifests, march…

Maybe Borges tried to make us understand that literature should not have anything to do with politics. Maybe it was one of Borges' endless games with his readers. Maybe it was a sign of courage - defending a position that could not be popular. Borges died in 1986. One can take anything Borges wrote and be caught forever by his talent, his ingenuity, and his absolute commitment to literature.

Friend Content Source : http://www.empirezine.com/spotlight/borges/borges.htm

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