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Tuesday, June 5, 2012

Carlos Santana


Carlos Augusto Alves Santana,
(born July 20, 1947) is a Mexican-American rock guitarist. Santana became famous in the late 1960s and early 1970s with his band, Santana, which pioneered rock, salsa and jazz fusion. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. Rolling Stone named Santana number 15 on their list of the 100 Greatest Guitarists of All Time in 2003. He has won 10 Grammy Awards and 3 Latin Grammy Awards.

Biography

Early life
Santana was born in Autlán de Navarro, Jalisco, Mexico. His father was a mariachi violinist, and Carlos learned to play the violin at age five and the guitar at age eight. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana, the border city between Mexico and California, and then San Francisco. Carlos stayed in Tijuana but joined his family in San Francisco later and graduated from James Lick Middle School and Mission High School there. He graduated from Mission High in 1965. Javier Bátiz, a famous guitarist from Tijuana Mexico, said to have been Carlos's guitar teacher who taught him to play a different style of guitar soloing. After learning Batiz's techniques, Santana would make them his own as well.
In San Francisco, he got the chance to see his idols, most notably B.B. King, perform live. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician; in 1966, he formed the Santana Blues Band, with fellow street musicians, David Brown and Gregg Rolie (bassist and keyboard player, respectively).
With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly became known simply as Santana) gained an immediate following on the San Francisco strip club. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to a recording contract with Columbia Records, then run by Clive Davis.
Personal life
On October 19, 2007, his wife of 34 years, Deborah, filed for divorce citing "irreconcilable differences".
On July 9, 2010, Santana announced his plans to wed drummer Cindy Blackman, at a Santana show in Tinley Park, Illinois by proposing onstage  in the middle of a set, right after Blackman played a drum solo.
Santana

Santana was signed by CBS Records and went into the studio to record their first album. They were not satisfied with the release and decided changes needed to be made. This resulted in the dismissal of Bob Livingston. Santana replaced him with Mike Shrieve, who had a strong background in both jazz and rock. Marcus Malone was forced to quit the band due to personal problems, and the band re-enlisted Michael Carabello. Carabello brought with him percussionist Jose Chepito Areas, who was already well-known in his country, Nicaragua, and, with his skills and professional experience, was a major contributor to the band.
Bill Graham, who had been a fan of the band from the start, convinced the promoters of the Woodstock Music and Art Festival to let them appear before their first album was even released. They were one of the surprises of the festival; their set was legendary and, later, the exposure of their eleven-minute instrumental "Soul Sacrifice" in the Woodstock film and soundtrack albums vastly increased Santana's popularity. Graham also gave the band some key advice to record the Willie Bobo song "Evil Ways", as he felt it would get them radio airplay. Their first album, simply titled Santana, became a huge hit, reaching number four on the U.S. album charts, and the catchy single "Evil Ways" reached number nine on the Billboard Hot 100.
In 1970, the group reached its early commercial peak with their second album, Abraxas, which reached number one on the album charts and went on to sell over four million copies. Instrumental in the production of the album was pianist Alberto Gianquinto, who advised the group to stay away from lengthy percussion jams and concentrate on tighter song structures. The innovative Santana musical blend made a number-four hit out of the English band Fleetwood Mac's "Black Magic Woman" and a number-thirteen hit out of salsa legend Tito Puente's "Oye Como Va".
However, Woodstock and the band's sudden success put pressure on the group, highlighting the different musical directions in which Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had established the band in the first place. Santana on the other hand was growing musically beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music, which were influenced by his fascination with Miles Davis and John Coltrane, as well as his growing interest in spirituality and meditation. To further complicate matters, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana wanted the band to continue performing by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate.
Teenage San Francisco Bay Area guitar prodigy Neal Schon was asked to join the band in 1971, though, at the time, he was also invited by Eric Clapton to join Derek and the Dominos. Choosing Santana, he joined in time to complete the third album, Santana III. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and a number of friends who helped with percussion and vocals, injecting more energy to the proceedings. Santana III was another success, reaching number one on the album charts, selling two million copies, and yielding the hits "Everybody's Everything" and "No One to Depend On".
But tension in the band continued. Along with musical differences, drug use became a problem, and Santana was deeply worried it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru, due to student protests against U.S. governmental policies and unruly fans. The madness of the tour convinced Santana that changes needed to be made in the band and in his life.
In January 1972, Santana, Neal Schon and Coke Escovedo joined former Band of Gypsys drummer Buddy Miles for a concert at Hawaii's Diamond Head Crater, which was recorded for a live album. The performance was erratic and uneven, but the album managed to achieve gold-record status on the weight of Santana's popularity.
Caravanserai
In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both made spectacular contributions to the session. Rolie left and went home to Seattle, opening a restaurant with his father, and later became a founding member of Journey (which Schon would later join as well).
When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a Top Forty act. Nevertheless, over the years, the album would achieve platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' Rolling Stone cover story "The Resurrection of Carlos Santana".
Around this time, Santana met Deborah King, whom he later married in 1973. She is the daughter of the late blues singer and guitarist Saunders King. They have three children: Salvador, Stella and Angelica. Together with wife Deborah, Santana founded a not-for-profit organization, the Milagro Foundation, which provides financial aid for educational, medical, and other needs.
Spiritual journey
In 1972, Santana became a huge fan of the pioneering fusion band The Mahavishnu Orchestra and its guitarist John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and Deborah to his guru, Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name "Devadip" – meaning "The lamp, light and eye of God." Santana and McLaughlin recorded an album together, Love, Devotion, Surrender with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, who both had made appearances on Miles Davis' classic Bitches Brew in 1969.
In 1973, Santana, having obtained legal rights to the band's name, formed a new version of Santana, with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana was later able to recruit jazz vocalist Leon Thomas for a tour of Japan, which was recorded for the live, sprawling, high-energy fusion album Lotus. CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and the album was available in the U.S. only as an expensive, imported, three-record set. The group later went into the studio and recorded Welcome, which further reflected Santana's interests in jazz fusion and his commitment to the spiritual life of Sri Chinmoy.
Shifting styles in the 1970s


New Year's Eve 1976; at the Cow Palace, San Francisco Photo: David Gans
A collaboration with John Coltrane's widow, Alice Coltrane, Illuminations, followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist, Jules Broussard to the lineup. The band recorded one studio album Borboletta, which was released in 1974. Drummer Leon 'Ndugu' Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career.
By this time, the Bill Graham's management company had assumed the affairs of the group. Graham was critical of Santana's direction into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, street-wise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted.
Santana along with Tom Coster, producer David Rubinson, and Chandler formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album Amigos, which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album also received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana back into the charts. Rolling Stone Magazine ran a second cover story on Santana entitled "Santana Comes Home".
The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the personnel who came and left the band was percussionist Raul Rekow, who joined in early 1977 and remains to this day. Most-notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 album Moonflower.
The relative success of the band's albums in this era allowed Santana to pursue a solo career funded by CBS. First, Oneness, Silver Dreams, Golden Reality in 1979 and The Swing of Delight in 1980, which featured some of his musical heroes: Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams from Miles Davis' legendary 1960s quintet.
The pressures and temptations of being a high-profile rock musician and requisites of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded, were great sources of conflict to Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought was Chinmoy's unreasonable rules imposed on his life, in particular, his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982.
The 1980s


Santana, 1984 Barcelona, Spain
More radio-pleasing singles followed from Santana and the band. "Winning" in 1981 and "Hold On" (a remake of Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, The Fabulous Thunderbirds, Willie Nelson and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the tragically short life of rock and roll legend Ritchie Valens and starred Lou Diamond Philips.
Although the band had concentrated on trying to produce albums with commercial appeal during the 1980s, changing tastes in popular culture began to reflect in the band's sagging record sales of their latest effort Beyond Appearances. In 1985, Bill Graham had to once again pull strings for Santana to convince principal Live Aid concert organizer Bob Geldof to allow the band to appear at the festival. The group's high-energy performance proved why they were still a top concert draw the world over despite their poor performance on the charts. Santana retained a great deal of respect in both jazz and rock circles, with Prince and guitarist Kirk Hammett of Metallica citing him as an influence.
The band Santana returned in 1986 with a new album Freedom. Buddy Milles, who was trying to revive his music career after spending much of the late 1970s and early 1980s incarcerated for drug charges, returned for lead vocals. His onstage presence provided a dose of charisma to the show; but, once again, the sales of the album fell flat.
Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988, Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with Viva Santana.
That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano sax. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon 'Ndugu' Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai. Santana released another solo record, Blues for Salvador, which won a Grammy Award for Best Rock Instrumental Performance.
In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year, he made a guest appearance on Ottmar Liebert's album Solo Para Ti, on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992, Santana hired jam band Phish as his opening act. He remains close to the band today, especially to guitarist Trey Anastasio.
Return to commercial success


Carlos Santana during a concert in 2005
Santana's record sales in the 1990s were very low. Toward the end of the decade, he was without a contract. However, Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, Cee-Lo, Maná, Dave Matthews, K. C. Porter, J. B. Eckl, and others.
However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last #1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. Supernatural reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B duo The Product G&B, also hit number one, spending ten weeks there in the spring of 2000. Supernatural eventually sold over 15 million copies in the United States, making it Santana's biggest sales success by far.
Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night.
In 2000 Supernatural won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens", from the album Invincible.
In 2002, Santana released Shaman, revisiting the Supernatural format of guest artists including P.O.D. and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch, rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group The Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals.
In August 2003, Santana was named fifteenth on Rolling Stone magazine's "List of the "100 Greatest Guitarists of All Time".
In 2005, Herbie Hancock approached Santana to collaborate on an album again using the Supernatural formula. Possibilities was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, the fellow Latin star Shakira invited Santana to play soft rock guitar ballad Illegal on her second English-language studio album Oral Fixation Vol. 2.
Santana's 2005 album All That I Am consisting primarily of collaborations with other artists; the first single, the peppy "I'm Feeling You", was again with Michelle Branch and The Wreckers. Other musicians joining the mix this time included Steven Tyler of Aerosmith, Kirk Hammett from Metallica, hip-hop/reggae star Sean Paul and R&B singer Joss Stone. In April and May 2006, Santana toured Europe, where he promoted his son Salvador Santana's band as his opening act.
In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album 90 Millas, on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night".
In 2008, Santana started working with his long-time friend, Marcelo Vieira, on his solo album Marcelo Vieira's Acoustic Sounds, which is due to be released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter featuring heavy melodic riffs by Santana.
Carlos Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Carlos Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje. With 2.5 hours concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" is currently playing at The Hard Rock Cafe in Las Vegas, where it will play through the end 2009.
Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One To Depend On" is included in game, which was released on September 1, 2009.
Carlos recently opened a chain of upscale Mexican restaurants called "Maria Maria". It is a combined effort with Chef Roberto Santibanez. They are located in Tempe Arizona, Mill Valley (now closed), Walnut Creek, and Danville, California, Austin, Texas, and Boca Raton Florida.
Influences

Around the age of 8, Santana "fell under the influence" of blues performers like B.B. King and John Lee Hooker. He also credits Jimi Hendrix and Mike Bloomfield as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a biography of Bloomfield, Michael Bloomfield: If You Love These Blues-An Oral History in 2000.
Equipment


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Guitars


Santana performing in 2000
Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival. From 1976 until 1982, his main guitar was a Yamaha SG 175B and sometimes a white Gibson SG Custom with 3 open coil pick-ups. In 1982 he started to use a custom made PRS guitar, which became his main instrument around 1988. Santana currently uses a Santana II model guitar using PRS Santana III pickups with nickel covers and a tremolo, with .009-.042 gauge D'Addario strings. Santana's guitar necks and fretboards are constructed out of a single solid piece of Brazilian Rosewood,this helps create the smooth, singing, glass-like tone that he is famous for.
Carlos Santana also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension nylon strings.
Effects
For the distinctive Santana electric guitar sound, Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron wah wah pedal (or, more recently, a Dunlop 535Q wah) and a T-Rex Replica delay pedal, then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets.
Previous setups include an Ibanez Tube Screamer right after the guitar.
In the song "Stand Up" from the album Marathon, Santana uses a Heil talk box in the guitar solo.
Amplifiers
The Santana lead guitar tone is produced by a humbucker equipped guitar (Gibson/Yamaha/PRS) into a small but effective preamp (consisting of Gain & Master Volume controls) for the Mesa Boogie [ref. as above]. He also literally put the Boogie in Mesa Boogie: 'Santana exclaimed to Smith, "Shit, man. That little thing really Boogies!" It was this statement that brought the Boogie name to fruition.'
Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home.
Discography


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It has been suggested that this article or section be merged into Santana discography. (Discuss)
Albums with the band Santana
Santana discography
Santana (1969) US: 2x Multi-Platinum
Abraxas (1970) US: 5x Multi-Platinum
Santana III (1971) US: 2x Multi-Platinum
Caravanserai (1972) US: Platinum
Welcome (1973) US: Gold
Lotus (1974) (Live)
Borboletta (1974) US: Gold
Amigos (1976) US: Gold
Festival (1977) US: Gold
Moonflower (1977) (Live/studio) US: 2x Multi-Platinum
Inner Secrets (1978) US: Gold
Marathon (1979) US: Gold
Zebop! (1981) US: Platinum
Shango (1982) US: Gold
Beyond Appearances (1985)
Freedom (1987)
Viva Santana! (1988) (Live/studio compilation)
Spirits Dancing in the Flesh (1990) (compilation)
Milagro (1992)
Sacred Fire: Live in South America (1993) (Live)
Live at the Fillmore '68 (1997) (Live)
Supernatural (1999) US: 15x Multi-Platinum
The Essential Santana (2002) (compilation)
Shaman (2002) US: 2x Multi-Platinum
All That I Am (2005) US: Gold
Ultimate Santana (2007) (compilation)
The Woodstock Experience (2009) (Live)
[edit]Albums as a solo artist or in collaborations
Carlos Santana & Buddy Miles! Live! (1972; with Buddy Miles) US: Platinum
Love Devotion Surrender (1973; with John McLaughlin) US: Gold
Illuminations (1974; with Alice Coltrane)
Oneness: Silver Dreams, Golden Reality (1979)
The Swing of Delight (1980)
Havana Moon (1983; with Booker T & the MGs, Willie Nelson, and The Fabulous Thunderbirds)
This Is This! (1986; with Weather report)
Blues for Salvador (1987)
Santana Brothers (1994; C.S. with Jorge Santana & Carlos Hernandez)
Carlos Santana and Wayne Shorter - Live at the Montreux Jazz Festival 1988 (2007)
Guitar Heaven: Santana Performs the Greatest Guitar Classics of All Time (2010)
Unofficial releases
Samba Pa Ti (1988)
Persuasion (1989)
Latin Tropical (1990)
Santana (1990)
The Big Jams (1991)
Santana Jam (1994)
With a Little Help from My Friends (1994)
Jin-Go-Lo-Ba (1994)
Soul Sacrifice (1995)
Santana Live (????)
Jingo and more famous tracks (????)
Singles
1969: "Jingo" #56 US
1969: "Evil Ways" #9 US
1971: "Black Magic Woman" #4 US
1971: "Oye Como Va" #13 US
1971: "Everybody's Everything" #12 US
1972: "No One to Depend On" #36 US
1974: "Samba Pa Ti" #27 UK
1976: "Let It Shine" #77 US
1977: "She's Not There" #27 US, #11 UK
1978: "Well All Right" #69 US
1979: "One Chain (Don't Make No Prison)" #59 US
1979: "Stormy" #32 US
1980: "You Know That I Love You" #35 US
1981: "Winning" #17 US
1981: "The Sensitive Kind" #56 US
1982: "Hold On" #15 US
1982: "Nowhere to Run" #66 US
1985: "Say It Again" #46 US
1999: "Put Your Lights On" (featuring Everlast)
1999: "Smooth" (featuring Rob Thomas) #1 US, #3 UK (charted in 2000)
2000: "Maria Maria" (featuring The Product G&B) #1 US, #6 UK
2002: "The Game Of Love" (featuring Michelle Branch) #5 US, #16 UK
2003: "Nothing at All" (featuring Musiq Soulchild)
2003: "Feels Like Fire" (featuring Dido) #26 NZ
2003: "Why Don't You & I" (featuring Chad Kroeger) #8 US
2005: "I'm Feeling You" (featuring Michelle Branch) #55 US
2005: "Just Feel Better" (featuring Steven Tyler) #8 AUS
2006: "Cry Baby Cry" (featuring Sean Paul and Joss Stone) #71 UK, #15 CDN
2006: "Illegal" (Shakira featuring Carlos Santana) #4 ITA, #11 GER
2007: "No Llores" (Gloria Estefan featuring Carlos Santana, José Feliciano and Sheila E.)
2007: "Into the Night" (featuring Chad Kroeger) #2 CAN, #5 SA, #5 Italy, #19 Germany, #26 US
2008: "This Boy's Fire" (featuring Jennifer Lopez with Baby Bash)
2008: "Fuego en el Fuego" (Eros Ramazzotti featuring Carlos Santana) #19 Spain
Note: The singles Smooth, Maria Maria, and Into The Night have each been certified Platinum by the RIAA.

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Music of France


France has a wide variety of indigenous folk music, as well as styles played by immigrants from Africa, Latin America and Asia. In the field of classical music, France has produced a number of legendary composers, while modern pop music has seen the rise of popular French hip hop, techno/funk, and pop performers.

Music history of France
French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. Troubadour songs of chivalry and courtly love were composed in the Occitan language between the 10th and 13th centuries, and the Trouvère poet-composers flourished in Northern France during this period. By the end of the 12th century, a form of song called the motet arose, accompanied by traveling musicians called jongleurs. In the 14th century, France produced two notable styles of music, Ars Nova and Ars Subtilior. During the Renaissance, Burgundy became a major center for musical development. This was followed by the rise of chansons and the Burgundian School.



 French classical music
Opera
 French opera
The first French opera may be Akébar roi du Mogol, first performed in Carpentras in 1646. It was followed by the team of Pierre Perrin and Cambert, whose Pastoral in Music, performed in Issy, was a success, and the pair moved to Paris to produce Pomone (1671) and Les Peines et les Plaisirs de l'Amour (1672).
Jean-Baptiste Lully, who had become well-known for composing ballets for Louis XIV, began creating a French version of the Italian opera seria, a kind of tragic opera known as tragédie lyrique or tragédie en musique - see (French lyric tragedy). His first was Cadmus from 1673. Lully's forays into operatic tragedy were accompanied by the pinnacle of French theatrical tragedy, led by Corneille and Racine.
Lully also developed the common beat patterns used by conductors to this day, and was the first to take the role of leading the orchestra from the position of the first violin.
The French composer, Georges Bizet, composed Carmen, one of the most well known and popular operas.


Romantic Era & Hector Berlioz
 Classical music era
One of the major French composers of the time, and one of the most innovative composers of the early Romantic era, was Hector Berlioz.
In the late 19th century, pioneers like Georges Bizet, Jules Massenet, Gabriel Fauré, Maurice Ravel and Claude Debussy revitalized French music. The last two had an enormous impact on 20th century music - both in France and abroad - and influenced many major composers like Béla Bartók and Igor Stravinsky. Erik Satie was also a very significant composer from that era. His music is difficult to classify but sounds surprisingly ahead of its time.


20th Century
The early 20th century saw neo-classical music flourish in France, especially composers like Albert Roussel and Les Six, a group of musicians who gathered around Satie. Later in the century, Olivier Messiaen, Henri Dutilleux and Pierre Boulez proved influential. The latter was a leading figure of Serialism while Messiaen incorporated Asian (particularly Indian) influences and bird song and Dutilleux translated the innovations of Debussy, Bartók and Stravinsky into his own, very personal, musical idiom.
The most important French contribution to musical innovation of the past 35 years is a form a computer-assisted composition called "spectral music". The astonishing technical advances of the spectralist composers in the 1970s are only recently beginning to achieve wide recognition in the United States; major composers in this vein include Gérard Grisey, Tristan Murail, and Claude Vivier.

  French folk music
Traditional styles of music have survived most in remote areas like the island of Corsica and mountainous Auvergne, as well as the more nationalistic regions of the Basques and Bretons.
In many cases, folk traditions were revived in relatively recent years to cater to tourists. These groupes folkloriques tend to focus on very early 20th century melodies and the use of the piano accordion.

Western France
The West of France comprises the Pays de Nantes, the provinces of Vendée, Anjou and Maine, and the Poitou-Charentes region. Traditions of ballad-singing, dance-songs and fiddle-playing have survived, predominantly in Poitou and the Vendée. Jérôme Bujeaud collected extensively in the area, and his 2-volume work "Chants et chansons populaires des provinces de l'ouest: Poitou, Saintonge, Aunis et Angoumois" (Niort, 1866) remains the principal scholarly collection of music and songs. In recent decades John Wright, Catherine Perrier and Claude Ribouillault (amongst others) have done much to collect, analyse and promote the surviving traditions.
The Marais Breton of Vendée is noted particularly for its tradition of veuze playing - which has been revived by the bagpipe-maker and player Thierry Bertrand - and for traditional singers such as Pierre Burgaud.
Folk dances specific to the West of France include the courante, or maraichine, and the bal saintongeais. Bourrées in triple time have been noted in the 19th century by Bujeaud, and more recently, in Angoumois. Circle- or chain-dances accompanied by caller-and-response singing have been noted in the West, and also in other regions such as Gascony, Normandy and Brittany.
Notable contemporary folk musicians include Christian Pacher and Claude Ribouillault (Poitou) and the group La Marienne (Vendée.)

Central France
Central France includes the regions of Auvergne, Limousin, Morvan, Nivernais, Bourbonnais and Berry. The lands are the home to a significant bagpipe tradition, as well as the iconic hurdy gurdy and the dance bourrée. There are deep differences between the regions of Central France, with the Auvergne and Limousin retained the most vibrant folk traditions of the area. As an example of the area's diversity, the bourrée can come in either duple or triple meter; the latter is found in the south of the region, and is usually improvised with bagpipes and hurdy gurdy, while the former is found in the north and includes virtuoso players.


 Bagpipe and hurdy gurdy
The hurdy gurdy, or vielle-à-roue, is essentially a mechanical violin, with keys or buttons instead of a finger board. It is made up of a curved, oval body, a set of keys and a curved handle, which is turned and connected to a wheel which bows the strings that are stopped by the keys. There is a moveable bridge, a variable number of drones and hidden sympathetic strings, all of which can also effect the sound. Simpler forms of the hurdy gurdy are also found in Spain, Hungary and Russia.
The bagpipe is found in a wide array of forms in France, which has more diversity in bagpipes than any other country. The cabrette and grande cornemuse from Auvergne and Berry are the most well-known. These forms are found at least as far back as the 17th century. Prominent bagpipers include Bernard Blanc, Frédéric Paris and Philippe Prieur, as well as bandleader Jean Blanchard of La Grande Bande de Cornemuses and Quintette de Cornemuses. Frédéric Paris is also known as a member of the Duo Chabenat-Paris, a prominent duo who use elements like mixed polyphonic ensembles and melodies based on the bourrée. Bernard Blanc and Jean Blanchard, along with Eric Montbel from Lyons, were among the musicians who formed the basis of La Bamboche and Le Grand Rouge. It was these two bands who did more than anyone to revitalize the traditions of Central France during the 1970s folk revival. The festival of St. Chartier, a music festival held annually near Châteauroux, has been a focal point for the music of Auvergne and Limousin.
The provinces of Morvan and Nivernais have produced some traditional stars, including Faubourg de Boignard and Les Ménétriers du Morvan, respectively. The Nivernais collector Achille Millien was also notable in the early part of the 20th century.


Basque Country
: Basque music
The music of the French Basque Country (east of the Basque Country) should be considered against a Pyrenean cultural background. Up to recent times and still ttun-ttun and xirula should be highlighted in traditional folk music (especially in the province of Soule) as a tabor and pipe like pair.
It's worth remembering the role of Mixel Etxekopar or Jean Mixel Bedaxagar as xirula players as well as traditional singers. Other popular performers like Benat Achiary take up a more experimental approach. These performers refer to a former tradition collected and restored by figures like Etxahun Iruri (1908–1979) where singing improviser poets (bertsolaris) played an important role in popular culture. Unfortunately, this bertsolari tradition has come almost to a halt, while some efforts are being made to restore it on new generations along the lines of the "southern" tradition, i.e. of the Spanish Basque Country.
Music from the Basque Country nowadays caters to almost all the tastes of music, with a wide range of music being played in Basque, from choral music (Oldarra in Biarritz) to elaborate music bands (e.g. Bidaia) to ska or hardcore trends, while it's much praised lately for the fine bare voices that have arisen with the likes of Maddi Oihenart, Maialen Errotabehere or Amaren Alabak, to mention but a few.


 Music of Corsica
Corsican polyphonic singing is perhaps the most unusual of the French regional music varieties. Sung by male trios, it is strongly harmonic and occasionally dissonant. Works can be either spiritual or secular. Modern groups include Canta u Populu Corsu, I Muvrini, Tavagna and Chjami Aghjalesi; some groups have been associated with Corsican nationalism.
Corsican musical instruments include the bagpipe (caramusa), 16-stringed lute (cetera), mandolin, fife (pifana) and the diatonic accordion (urganettu).


Brittany
 Music of Brittany
Distinctly Celtic in character, the folk music of Lower Brittany has had perhaps the most successful revival of its traditions, partly thanks to the city of Lorient, which hosts France's most popular music festival.
The documented history of Breton music begins with the publication of Barzaz-Breizh in 1839. A collection of folk songs compiled by Hersart de la Villemarqué, Barzaz-Breizh re-branded and promoted Breton traditions and helped ensure their continuity.
Couples de sonneurs, consisting of a bombarde and biniou, is usually played at festoù-noz celebrations (some are famous, like Printemps de Chateauneuf). It is swift dance music and has an older vocal counterpart called kan ha diskan. Unaccompanied call and response singing was interspersed with the gwerz, a form of ballad.
Probably the most popular form of Breton folk is the bagad pipe band, which features native instruments like biniou and bombarde alongside drums and, in more modern groups, biniou braz pipes. Modern revivalists include Kevrenn Alre Bagad and Bagad Kemper.
Alan Stivell is perhaps the most influential folk-rock performer of continental Europe. After 1971's Renaissance of the Celtic Harp, Breton and other Celtic traditional music achieved mainstream success internationally. With Dan Ar Bras, he then released Chemins de Terre (1974), which launched Breton folk-rock. This set the stage for stars like Malicorne in the ensuing decades.
In later years much has been done to collect and popularize the musical traditions of the Pays Gallo of Upper Brittany, for which the singer Bertran Ôbrée, his group Ôbrée Alie and the association DASTUM must take much credit. The songs of Upper Brittany are either in French or in Gallo.
Modern Breton folk music includes harpists like Anne-Marie Jan, Anne Auffret and Myrdhin, while singers Kristen Nikolas, Andrea Ar Gouilh and Yann-Fanch Kemener have become mainstream stars. Instrumental bands, however, have been the most successful, including Gwerz, Bleizi Ruz, Strobinell, Sonerien Du and Tud.

Popular Music

French popular music

The following text needs to be harmonized with text in French popular music.
The late 19th century saw the dawn of the music hall when Yvette Guilbert was a major star. The era lasted through to the 1930s and saw the likes of Félix Mayol, Lucienne Boyer, Marie-Louise Damien, Marie Dubas, Fréhel, Georges Guibourg, Tino Rossi, Jean Sablon, Charles Trenet and Maurice Chevalier, Édith Piaf. During the 50s and 60s, it was the golden age of Chanson française (Monique Serf (Barbara) Georges Brassens, Léo Ferré, Charles Aznavour, Alain Barrière and Jacques Brel).
American and British rock and roll was also popular in the 1950s and 60s, and indigenous rock achieved some domestic success. Punk rock and heavy metal found some listeners. Beginning in the 1980s, Les Rita Mitsouko became very popular throughout Europe with their unique blending of punk, new wave, dance and cabaret elements.
In particular, electronic music, as exemplified by Jean Michel Jarre, achieved a wide French audience. The French electro-pop duos Air and Daft Punk and techno artists Laurent Garnier and David Guetta found a wide audience in the late 1990s and early first decade of the 21st century, both locally and internationally. Groups such as Justice, M83, Phoenix and Télépopmusik continue to enjoy success.
Algerian rai also found a large French audience, especially Khaled. Moroccan chaabi and gnawa is also popular.
American hip hop music was exported to France in the 1980s, and French rappers and DJs, like MC Solaar, also had some success.

Chanson

Chanson française is the typical style of French music (chanson means "song" in French) and is still very popular in France. The most important classic artists include of the Édith Piaf, Monique Serf (Barbara) Georges Brassens, Léo Ferré, Charles Aznavour, Mireille Mathieu, Gilbert Bécaud, Salvatore Adamo, and Jacques Brel plus the more art-house musicians like Brigitte Fontaine. One of the most loved, respected and internationally successful of all vocalist stylist of the 'chanson Francais' is "Dalida". Also during the 1950s one of the more representative of Montmartre cabaret singers was Suzanne Robert.
During the 1970s, new artists modernized the Chanson française, (Joe Dassin, Michel Fugain, Renaud, Francis Cabrel, Alain Souchon, Jacques Higelin, Lavilliers, Alain Chamfort) and also in the 80s (Étienne Daho, Têtes Raides) till now (Mano Solo, Matthieu Chedid, Benjamin Biolay, Jean-Louis Murat, Miossec, Mathieu Boogaerts, Daniel Darc, Vincent Delerm).
The more commercial and pop part of "chanson" is called "variété", and included artists including Francis Cabrel, Alain Souchon, Laurent Voulzy, and Jean-Jacques Goldman. More recently, the success of the Star Academy television show has spawned a new generation of young pop music stars including Jenifer Bartoli and Nolwenn Leroy; and the superstar status of diva Mylene Farmer inspired pop rock performers like Zazie, Lorie and Alizée, and R&B-influenced singers like Nadiya and Ophelie Winter.


Rock 'N Roll

In the 1950s, Elvis Presley and rock and roll made inroads in the French music scene. It produced stars like Johnny Hallyday, Richard Anthony, Dick Rivers and Claude François, the popular yé-yé girls like Sylvie Vartan and France Gall and some various music genre like Dalida, who performed multi-lingual and ethnic styles like Italian style music in 50s; twist, pop and rock in the 60s (and later pop, disco, reggae, new wave and rock in the 70s and 80s). These were popular female teen idols, and included Françoise Hardy, who was the first to write her own songs.
Singer-songwriter Serge Gainsbourg began as a jazz musician in the 1950s and spanned several eras of French popular music including pop, rock, reggae, new wave, disco and even hip hop filtered through his unique sense of black humor, heavily laden with sex.
Though rock was not extremely popular until the 70s, there were innovative musicians in France as the psychedelic rock trend was peaking worldwide. Jean-Pierre Massiera's Les Maledictus Sound (1968) and Aphrodite's Child's 666 were the most influential. Later came bands such as Magma, Martin Circus, Au Bonheur des Dames, Trust, Téléphone, Noir Désir, and musicians Marcel Dadi, Paul Personne, Bireli Lagrene, etc.
In the early 70s, Breton musician Alan Stivell (Renaissance de la Harpe Celtique) launched the field of French folk-rock by combining psychedelic and progressive rock sounds with Breton and Celtic folk styles.

Progressive Rock 'N Roll

France became one of the leading producers of prog rock in the 1970s. Aficionados worldwide were enamoured by recordings like Ange's Le Cimetiere des arlequins, Pulsar's Halloween, Shylock's Ile de Fievre, Atoll's L'Araignee-Mal and Eskaton's Ardeur. Most well-known, however, may be the band Magma, whose 1970 debut, Magma, used free jazz and lyrical references to science fiction. The band later used Indian and electronic styles

1980s
In the 1980s, French rock spawned a myriad of styles, many closely-connected with other Francophone musical scenes in Switzerland, Canada and especially Belgium. Pub rock (Telephone), psychobilly (La Muerte), pop punk (Les Thugs), synth pop and punk rock (Bérurier Noir, Bijou, Gill Dougherty) were among the styles represented in this era.
Punk rock had arisen in the 1970s and continued into the next decade, perhaps best represented by Oberkampf and Métal Urbain. 80s progressive rock peaked early in the decade, with Dun's Eros, Emeraude's Geoffroy and Terpandre's Terpandre, all from 1981, representing the genre's pinnacle.

Heavy metal
French heavy metal bands include Alaesna, Hacride, Eths, Dagoba, and Gojira.
France also has a large black metal movement, including Deathspell Omega, Blut Aus Nord, Peste Noire, Arkhon Infaustus and Antaeus, and the organization known as Les Légions Noires made up of such bands as Mutiilation, Vlad Tepes and Torgeist.

French House
French house is a late 1990s form of house music, part of the 1990s and first decade of the 21st century European dance music scene and the latest form of Euro disco. The genre is also known as "Disco house", "Neu-disco" (new disco), "French touch", "filter house" or "tekfunk". The early mid/late 1990s productions was notable for the "filter effect" used by artists such as Daft Punk. Other productions use more mainstream vocals and samples. French house is greatly influenced by the 1970s Euro disco and especially the short lived space disco music style (a European (mostly French) variation of Hi-NRG disco), and also by P-Funk and the productions of Thomas Bangalter
The first French house experiments (at the time called "disco house" and "neu disco") became notable in the international market between 1997-1999. Daft Punk, Stardust and Cassius were the first international successful artists of the genre and their videos show their "space disco" roots.
The mass international commercial success of the genre started in 2000 because of artists like Bob Sinclar, Etienne de Crécy and Modjo. Galleon followed the next year.
Today most French house bands and artists have moved on to other music styles, notably a French variation of electro, that is danced on the milky way/Tecktonik style.


 French hip hop
Hip hop music came from New York City, invented in the 1970s by African Americans. By 1983, the genre had spread to much of the world, including France. Almost immediately, French performers (musicians and breakdancers) began their career, including Thony Maskot, Frank II Louise, Max-Laure Bourjolly, Farid Berki, Traction Avant and Black Blanc Beur. Popularity was brief, however, and hip hop quickly receded to the French underground. Hip-hop was adapted to French context, especially the poverty and violence of large cities known as banlieues ("suburbs") where many French of foreign descent live, especially from the former colonial countries (West Africa and Maghreb, Caribbean). If there is some influence of African musics and of course American hip hop, French hip-hop is also strongly connected to French music, with strong reciprocal influences, from french pop and chanson, both in music and lyrics.
Paname City Rappin (1984, by Dee Nasty) was the first album released, and the first major stars were Suprême NTM, IAM and MC Solaar, whose 1991 Qui Sème le Vent Récolte le Tempo, was a major hit. Through the nineties, the music grew to become one of the most popular genres in France with huge success of the pioneers (IAM, NTM) and newcomers (Ministère Amer, Oxmo Puccino, Lunatic). France is the world's second-largest hip-hop market. The most selling rappers in the 00s are Diam's, Booba and Kenza Farah with successful artists more underground like La Rumeur, la Caution and TTC.


 Raï
France has long had a large Algerian minority, a legacy of colonial domination of that country.
Beginning in the 1920s raï developed in Algeria as a combination of rural and urban music. Often viewed as a form of resistance towards censorship, many of the conventional values of the old raï became modernized with instruments, synthesizers and modern equipment. Later performers added influences from funk, hip hop, rock and other styles, creating most notably a pop genre called lover's raï. Performers include Rachid Taha and Faudel. This time was when the music started getting popular among the Maghrebi populace of France. Originating in the lower-class slums of the city of Oran, raï shot to the top of the French charts in 1992 with the release of Khaled's self-titled album Khaled. Rai continues to be an identity marker, and aided with the creation of the Arab identity in France. Social and economic problems continue in the banlieus of France, and thus, the verlan slang music will continue.
Raï as a musical form has tonal differences that go up and down, and has adopted beats that sound like pop. Much of the music is sung in Arabic, and differ depending on the country where it has immigrated. In France, a majority of raï music is a mixture of Arabic and verlan French.

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Trey Songz

Tremaine Aldon Neverson,born November 28, 1984, better known by his stage name Trey Songz, is an American recording artist, producer and actor. His debut album, I Gotta Make It, was released in 2005, while his second album, Trey Day, was released in 2007. His third album, Ready, was released in 2009 while his fourth studio album, Passion, Pain & Pleasure, will be released on September 14, 2010. Trey cites D'Angelo as his biggest influence and inspiration.


Life and career

1984–2004: Early life
Songz was born Tremaine Aldon Neverson on November 28, 1984, in Petersburg, Virginia. Raised a military brat, he recognized his vocal abilities at the age of 14 in 1998. Reluctant to sing, he began performing with encouragement by friends and family in high school. Record producer Troy Taylor discovered Songz during a talent show in 2000, which led him to signing a recording contract with Atlantic Records in 2002. After graduating from high school in 2002, Songz moved to New Jersey to begin recording his debut album, though recording didn't actually begin until 2003.
2004–2006: I Gotta Make It
While recording his debut album in 2004, Songz released multiple mixtapes under the alias Prince of Virginia. One of the mixtapes featured an "answer track" to R. Kelly's "Trapped in the Closet", entitled "Open the Closet". The song gave Trey some notoriety.
His debut album, I Gotta Make It was released on July 26, 2005.  It debuted at #20 on the Billboard 200, selling a mere 40,000 copies in its first week of sales. It has only sold 300,000 records in the US, and was never certified by the RIAA.
Song'z debut single, Gotta Make It, featuring Twista, was released in March of 2005 and reached #87 on the Billboard Hot 100 and #21 on the Hot R&B/Hip-Hop Songs. It garnered success in the R&B/urban community but failed to make a mark in mainstream music. The album's second and final single, Gotta Go, was released in July of 2005 and reached #67 on the Hot 100 and #11 on the Hot R&B/Hip-Hop Songs chart, becoming even more successful than his debut single in the R&B/urban community and in the mainstream community. After promotion for his debut concluded, he was featured on the lead single from Twista's fifth album, The Day After. The single, "Girl Tonite", reached #14 on the Hot 100 and #3 on the Hot R&B/Hip-Hop Songs chart, becoming a huge hit.
2007–2008: Trey Day
In mid-2006, Songz began work on a follow-up album to his debut with longtime collaborator Troy Taylor and also employed hitmakers Bryan-Michael Cox, Danja, Stargate (production team) and R. Kelly to help create the album. Trey aimed for the album to be more mainstream-oriented than his debut album.
His second studio album, Trey Day, was released on October 2, 2007. The album reached #11 on the Billboard 200, selling 73,000 copies in its first week. It has since sold 400,000 records in the US, becoming his second album not to be certified by the RIAA. The album was going to be released on May 8, 2007, but was continually delayed in order for a successful single to precede the album, as the lead single failed to impact charts.
His sophomore album was preceded by the lead single, "Wonder Woman", which was released in February of 2007. It reached #54 on the Hot R&B/Hip-Hop Songs chart, but failed to impact the Hot 100. Because of the single's failure, his second album was delayed from May 2007 to October 2007. The album's second single, "Can't Help but Wait", was released in August of 2007 and was released to promote his second album and the film Step Up 2 the Streets' soundtrack as a single for it. The single reached #14 on the Hot 100, and #2 on the Hot R&B/Hip-Hop Songs chart. It became Songz's first Top 20 hit on the Hot 100, and helped to boost his second album's sales. The single was also nominated for Best Male R&B Vocal Performance at the 2008 50th Grammy Awards.
The third single from the album, "Last Time", was released in January of 2008 and reached #69 on the Hot 100, and #9 on the Hot R&B/Hip-Hop Songs chart. The fourth and final single from the album, "Missin' You", was released in May of 2008, but failed to chart completely. In mid-2008, Songz was nominated for a BET Award for Best Male R&B Artist but didn't win the award.
2009–2010: Ready
In late 2008, Trey began work on his third studio album with Bryan-Michael Cox, Sean Garrett, Stargate and Troy Taylor and aimed for the record to be more mature than his first two. Before releasing his third album, Songz released a mixtape titled Anticipation in June of 2009 through his blog, which featured songs from his third album.[8] Another mixtape from Trey was released in the summer of 2009, called Genesis. Genesis was a collection of Trey Songz's first recordings when he was fifteen years old and was released to show his fans the dedication that he had to making a record when he was young.
Trey released his third studio album, Ready, on August 31, 2009. The album reached #3 on the Billboard 200, selling 131,000 copies in its first week. These are his best first week sales to date and the album was his first to reach the Top 10 on the Billboard 200. The album has since sold 700,000 records in the US, earning a Gold certification from the RIAA in February of 2010, becoming his first album to be certified by the RIAA.
The lead single from the album, "I Need a Girl", was released in April of 2009 and reached #5 on the Hot R&B/Hip-Hop songs chart and #59 on the Hot 100, becoming an R&B/urban hit but not a mainstream hit. A promotional single, "Successful", featuring rapper Drake, was released in June of 2009 and reached #17 on the Hot 100, becoming Songz's third Top 20 hit. The single also served as the second and final single from Drake's EP, So Far Gone.
The second official single from his third album, "LOL Smiley Face", featuring Soulja Boy Tell 'Em and Gucci Mane, was released in August of 2009 and reached #51 on the Hot 100 and #12 on the Hot R&B/Hip-Hop Songs chart. The third single from the album, "I Invented Sex", featuring Drake, was released in October of 2009 and reached #42 on the Hot 100 but #1 on the Hot R&B/Hip-Hop Songs chart, becoming his first single to top that chart. Like the first two singles from the album, it achieved success in the R&B/urban community but only some mainstream success. charted within the Billboard Hot 100, and topped the R&B chart. The fourth single from the album, "Say Aah", featuring rapper Fabolous, was released in January of 2010 and reached #9 on the Hot 100 and #3 on the Hot R&B/Hip-Hop Songs chart. The single has become Trey's highest charting single on the Hot 100 and one of his most successful singles on the Hot R&B/Hip-Hop Songs chart. The fifth and final single from the album, "Neighbors Know My Name", was released in February of 2010 and reached #43 on the Hot 100 and #4 on the Hot R&B/Hip-Hop Songs chart. A sixth single, "Yo Side of the Bed", was going to be released in June of 2010, but its release was canceled due to unknown reasons. A music video, featuring singer Keri Hilson, was filmed and released, however.
Songz was also the opening act for Jay-Z on his Jay-Z Fall Tour in late 2009. The album was nominated for Best Contemporary R&B Album at the 52nd Grammy Awards in 2010, but lost to Beyoncé's I Am... Sasha Fierce. On April 1, 2010, he recorded an episode of MTV Unplugged, which aired on April 26, 2010. A documentary-series about Trey, Trey Songz: My Moment, began in June of 2010 to positive reviews and high ratings. The 10-part series will end in August of 2010 and follows Trey during his time as opening act on Jay-Z's Jay-Z Fall Tour in late 2009.
2010-present: Passion, Pain & Pleasure
Trey's fourth studio album, Passion, Pain & Pleasure, will be released on September 14, 2010.Trey began work on the album in early 2010 with Sean Garrett, Troy Taylor and Stargate and has stated that the album will be his most personal to date. The album was completed in July of 2010. The album's lead single, "Bottoms Up", featuring female rapper Nicki Minaj, was released on July 27, 2010 and has reached number twenty-four on the Hot R&B/Hip-Hop Songs chart and was shared enough on Facebook to appear as a trending video on ItsTrending. Its video was filmed on July 31, 2010 and is pending release. Trey also filmed the video for the album's second single, "Can't Be Friends", on August 1, 2010. "Can't Be Friends" will be released as the album's second single in August of 2010.
Trey embarked on the Passion, Pain & Pleasure Tour on August 6, 2010 with singer Monica. The tour is his first headlining tour to date and consists of shows in venues that seat 3,000 to 5,000 people.
Trey also contributed the song "Already Taken" to the Step Up 3D soundtrack, which was released on July 27, 2010. He filmed a video for the song, which was released in July of 2010. The leading lady in the video is former girlfriend and professional dancer Helen Gedlu.
Trey Songz is scheduled to appear at the 2010 MTV VMAs on Sept. 12, 2010.

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Glamour photography

Glamour photography is a genre of photography whereby the subjects, usually female, are portrayed in a romantic or sexually alluring way. The subjects may be fully clothed or seminude, but glamour photography stops short of deliberately arousing the viewer and being hardcore pornography
.

 
Glamour photography is generally a composed image of a subject in a still position. The subjects of glamour photography are often professional models, and the photographs are normally intended for commercial use, including mass-produced calendars, pinups and for men's magazines, such as Playboy; but amateur subjects are also sometimes used, and sometimes the photographs are intended for private and personal use only. Photographers use a combination of cosmetics, lighting and airbrushing techniques to produce an appealing image of the subject.
In North America, glamour photography of models does not usually involve fully topless shots, whereas in the UK and elsewhere topless shots are generally considered acceptable in glamour photography.

Early history
Lauren Anderson, former Playboy Playmate of the Month, in a photo shoot

Glamour models posing on the red carpet - Hollywood, California, March 9, 2008.
Early glamour modeling was often associated with "French postcards", small postcard sized images, that were sold by street vendors in France. In the early 1900s the pinup became popular and depicted scantily dressed women often in a playful pose seemingly surprised or startled by the viewer. The subject would usually have an expression of delight which seemed to invite the viewer to come and play. Betty Grable was one of the most famous pinup models of all time; her pinup in a bathing suit was extremely popular with World War II soldiers.
In December 1953, Marilyn Monroe was featured in the first issue of Playboy magazine. Bettie Page was the Playmate of the Month in January 1955. Playboy was the first magazine featuring nude glamour photography targeted at the mainstream consumer.
The British Queen of Curves in the 1950s and early sixties was Pamela Green. Harrison Marks, on the encouragement of Green, took up glamour photography and together in 1957 they published the pinup magazine Kamera. Currently in England the earliest use of the word "glamour" as a euphemism for nude modeling or photography is attributed to Marks' publicity material in 1950s.
Glamour models popular in the early 1990s included Hope Talmons and Dita Von Teese and the modern era is represented in the U.S. by models like Heidi Van Horne and Bernie Dexter, while the UK's leading representative of the genre is Lucy Pinder.


Magazines and movie stars

Standards of glamour photography have changed over time, reflecting changes in social acceptance. In the early 1920s, United States photographers like Ruth Harriet Louise and George Hurrell photographed celebrities to glamorise their stature by utilizing lighting techniques to develop dramatic effects. During World War II pin-up pictures of scantily clad movie stars were extremely popular among US servicemen. However, until the 1950s, the use of glamour photography in advertising or men’s magazines was highly controversial or even illegal. Magazines featuring glamour photography were sometimes marketed as "art magazines" or "health magazines".


Popular portraiture

Since the 1990s glamour photography has increased in popularity among the public. Glamour portrait studios opened, offering professional hair and makeup artists and professional retouching to allow the general public to have the "model" experience. These sometimes include "boudoir" portraits but are more commonly used by professionals and high school seniors who want to look "their best" for their portraits. 


Magazines

Playboy was instrumental in changing the world of glamour photography as the first magazine which focused on nude models and was targeted at the mainstream consumer. In December 1953, Hugh Hefner published the first edition of Playboy with Marilyn Monroe on the cover, and nude photos of Monroe inside. Monroe's star status and charming personality helped to diminish the public outcry. When asked what she had on during the photoshoot, she replied "the radio". After Playboy broke through, many other magazines followed and this was instrumental in opening the market for the introduction of glamour photography into modern society. Today, softcore nude photographs of models appear in publications such as Perfect 10, or tabloid newspapers such as Britain's The Sun's Page 3.
Recently, several popular glamour magazines (known as lad mags) are reversing the trend, by emphasizing glamour while showing less nudity, in favor of implied (covered) nudity or toplessness, such as the handbra technique, where a woman hides her nipples and areolae by covering both breasts with her own hands, or those of another person. Examples include FHM (For Him Magazine) and Maxim magazines, which launched in 1994 and 1995, respectively.

Dominika Cibulkova


Dominika Cibulkova, born 6 May 1989 in Piešťany, Czechoslovakia, now Slovakia is a professional Slovak tennis player. She is also a former world junior no. 3, achieving that ranking in May 2005. Her career-high ranking of world no. 12 was achieved on 6 July 2009. Her best result was reaching the semi-finals of the 2009 French Open, while she has also reached the quarter-finals at the 2010 US Open and the 2011 Wimbledon Championships. Cibulková has also won one title on the WTA tour, winning the tournament in Moscow in 2011.
Contents
Personal

Cibulková began playing tennis between the ages of seven and nine[3] and grew up in Bratislava, Slovakia. She can speak both Slovak and English.

She lists clay and hard as her favourite surfaces, and has thus far proved to be most proficient on a hard surface.

Career
Early career

Cibulková competed predominantly on the ITF circuit at this time, and managed to win two tournaments: the Amarante, Portugal event in 2005, and the Bratislava event in 2006.

At the 2010 Monterrey Open, Cibulková was the 4th seed. She came from a set down to beat No. 5 seed Ágnes Szávay in the quarterfinals. She fell to fellow Slovak and No. 2 seed Daniela Hantuchová in three sets. At the 2010 BNP Paribas Open she was upset by Sara Errani in the second round after receiving a bye. At the 2010 Sony Ericsson Open, Cibulková lost in the third round to Justine Henin, 6–4, 6–4. At the 2010 MPS Group Championships as the third seed she cruised through the semifinals before losing to Olga Govortsova 6–4, 7–5. At the 2010 Internazionali BNL d'Italia she lost in the third round to Maria Kirilenko 4–6, 6–1, 6–1. At the 2010 Mutua Madrileña Madrid Open she lost in the second round to 13th seed Li NaAt the 2010 French Open, where she reach the semifinals the year before, she lost in the third round 6–3, 6–4 to the world no. 2 Venus Williams.

She then played at the 2010 UNICEF Open losing to Kirsten Flipkens 6–2, 6–3 at the quarterfinals. At the Wimbledon 2010, where she upset Lucie Šafářová and defeating Ayumi Morita. She lost in the third round 6–0, 7–5 to world no. 1 Serena Williams. She then lost in the first round of 2010 Banka Koper Slovenia Open to Ksenia Pervak 6–1 6–3 and then suffered 4 straight loses in the second round of 2010 Bank of the West Classic to Yanina Wickmayer 6–1 6–4, first rounds of the 2010 Mercury Insurance Open to Vera Zvonareva 6–0 3–6 6–4, 2010 Western & Southern Financial Group Women's Open to Alona Bondarenko 3–6 6–2 6–3 and the 2010 Rogers Cup to Maria Kirilenko 6–0, 6–3. she broke this streak at the 2010 Pilot Pen Tennis by being a lucky loser and reaching the second round before losing to Caroline Wozniacki 6–4, 6–1.
Cibulková at the 2010 US Open.

At the 2010 US Open, Cibulková advanced to her second career Grand Slam quarterfinal after defeating Stefanie Vögele 6–2, 4–6, 7–5, Kateryna Bondarenko 6–2, 5–7, 7–6(7), Lourdes Domínguez Lino 6–0, 6–1, and 11th seed Svetlana Kuznetsova 7–5, 7–6(4). She lost to the top seed Caroline Wozniacki 2–6, 5–7 in the quarterfinals.
2011

Cibulková began the year by reaching the quarterfinals of the 2011 Brisbane International, where she lost to Petra Kvitová, 6–0, 6–4. She then entered the 2011 Medibank International Sydney, where she pulled off the biggest upset of her young career, beating world No. 1 Caroline Wozniacki 6–3, 6–3. She was defeated by Alisa Kleybanova in the third round, 6–3, 5–7, 6–2. In late June in London, Cibulková repeated the upset from Sydney by winning 1–6, 7–6, 7–5 against Wozniacki, and continued to the 2011 Wimbledon quarterfinals before losing to Maria Sharapova, 6–1, 6–1. She won her first WTA title, the Kremlin Cup, edging Kaia Kanepi 3–6, 7–6 (1), 7–5. Her win represents the first time a player has captured their maiden title at the Kremlin Cup.
2012

At her first tournament of the year, Cibulková was 4–0 in the third set against Caroline Wozniacki and she eventually lost the match. At the grand slam down under, she was seeded 17 and defeated Magdalena Rybarikova 6–3 6–1 in the first round. Cibulková then lost to Great Arn in an intesne match in the third round. The final score was 2–6 6–3 8–10. At the Sony Ericsson Open in Miami, Cibulková came close to beating world #1 Victoria Azarenka, leading her by a set and 5–2 before Azarenka prevailed 1–6 7–6 (7) 7–5. Cibulková then reached the finals of the Barcelona Open, losing to Sara Errani 6–2 6–2. At the French Open, Cibulková defeated No. 1 seed Azarenka 6-2 7-6 in the fourth round.
Fed Cup

She has played in the Fed Cup for the Slovak Republic four years in a row from 2005 to present, holding a 11–5 win-loss record in singles and a 1–7 record in doubles matches.

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Susno Duadji


Susno Duadji (born 1 July 1954 in Pagar Alam, South Sumatra) was the head of Indonesian National Police's Crime Investigation Agency (Bareskrim) until his resignation on 5 November 2009. He had got promoted to his last position on October 2008 after serving as Chief of Police in West Java Province for less than a year. He has a rank of Police Commissioner General (Komjen Pol.) - equivalent Lieutenant General in the military. His experiences include Chief of Police in Malang, in Madiun, both are in East Java Province, as well as Chief of Police in North Maluku.

Controversies

In the recent days, Mr. Duadji became the headlines in the Indonesian National media due to his allegedly "involvement" in several high caliber corruption cases investigated by Indonesian Corruption Eradication Commission (KPK). Once applauded for his anti corruption stance during his tenure as West Java Police Chief, he became increasingly hostile to the Commission. He was allegedly undermined anti corruption effort in Indonesia. In one occasion he met with Mr. Anggoro Widjojo in Singapore, while Mr. Widjojo was still wanted by Indonesian Corruption Eradication Commission (KPK) for his involvement in a corruption case. This accusation has sparked rivalry between Indonesian National Police and Indonesian Corruption Eradication Commission, that led to arrest of two leaders of the Commission. This arrest in turn has touched emotion among Indonesian people due to their concern about weakening corruption fight in Indonesia. Most Indonesians view Corruption Eradication Commission more credible than Indonesian National Police as well as Indonesian Attorney General Office in fighting corruption through several high caliber cases, including the sentencing of Aulia Pohan, in-law of Susilo Bambang Yudhoyono.

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