text:
Caetano Veloso

Caetano Emanuel Viana Teles Veloso (born 7 August 1942) is a Brazilian composer, singer, guitarist, writer, and political activist. Veloso first became known for his participation in the Brazilian musical movement Tropicália, which encompassed theatre, poetry and music in the 1960s, at the beginning of the Brazilian military dictatorship that took power in 1964. He has remained a constant creative influence and best-selling performing artist and composer ever since. Veloso has won nine Latin Grammy Awards and two Grammy Awards. On 14 November, 2012, Veloso was honored as the Latin Recording Academy Person of the Year.

Veloso was one of seven children born into the family of José Telles Veloso (commonly known as Seu Zeca), a government official, and Claudionor Viana Telles Veloso (known as Dona Canô). He was born in the city of Santo Amaro da Purificação, in Bahia, a state in the eastern area of Brazil, but moved to Salvador, the state capital, as a college student in the mid-1960s. Soon after that, Veloso won a music contest and was signed to his first label. He became one of the originators of Tropicália with several like-minded musicians and artists—including his sister Maria Bethânia—in the same period. However, the Brazilian military dictatorship viewed Veloso's music and political action as threatening, and he was arrested, along with fellow musician Gilberto Gil, in 1969. The two eventually were exiled from Brazil and went to London where they lived for two years. In 1972, Veloso moved back to his home country and once again began recording and performing. He later became popular outside Brazil in the 1980s and 1990s.

Biography
Veloso was born in Santo Amaro da Purificação, Bahia, Brazil, the fifth of seven children of José Teles Veloso (1901–1983) and Claudionor Viana Teles Veloso (1907–2012). His childhood was influenced greatly by artistic endeavors: he was interested in both literature and filmmaking as a child, but focused mainly on music. The musical style of bossa nova and João Gilberto, one of its most prominent exponents, were major influences on Veloso's music as he grew up. Veloso was 17 years old when he first heard Gilberto, whom he describes as his "supreme master". He recognizes Gilberto's contribution to Brazilian music as new—"illuminating" the tradition of Brazilian music and paving the way for future innovation. Veloso moved to the Bahian port city of Salvador as a teenager, the city in which Gilberto lived, and a center of Afro-Brazilian culture and music.

In 1965, Veloso moved again to Rio de Janeiro, with his sister Maria Bethânia, also a musician. Shortly after the move, Veloso won a lyrics contest for his composition "Um Dia" and was signed to Philips Records. On 21 October 1967, Veloso won fourth prize and gained a standing ovation at the third annual Brazil Popular Music Festival with his song "Alegria, Alegria". on which he was backed by São Paulo group Beat Boys; along with the performance of his friend Gilberto Gil, who was backed by psychedelic band Os Mutantes, this marked the first time that rock bands had performed at the festival. During this period, Veloso, Bethânia, Gilberto Gil, Gal Costa, Tom Zé, and Os Mutantes developed "Tropicalismo", which fused Brazilian pop with rock and roll and avant-garde music. Veloso describes the movement as a wish to be different - not "defensive" like the right-wing Brazilian military government, which vehemently opposed the movement. Although Gil and Veloso's performances at the 1967 MBP Festival were rapturously received, within a year, Tropicalismo had become a deeply divisive issue among Brazil's youth audience, with Marxist-influenced college students of the Brazilian left wing condemning Tropicalismo, because they believed it commercialized Brazilian traditional music by incorporating musical influence from other cultures, specifically the United States.

The musical manifesto of the Tropicalist movement was the landmark collaborative LP Tropicália: ou Panis et Circencis ("Tropicalia: or Bread and Circuses"), issued in mid-1968, which brought together the talents of Veloso, Os Mutantes, Gilberto Gil, Tom Zé and Gal Costa, with arrangements by avant-garde composer-arranger Rogerio Duprat (who had studied with Pierre Boulez) and lyrical contributions from poet Torquato Neto. The album's group cover photograph depicted the collective holding a variety of objects and images, in a deliberate reference to the cover of The Beatles' Sgt. Pepper's Lonely Hearts Club Band. The tensions between the Tropicalistas and the student left peaked in September 1968 with Veloso's now-legendary performances at the third annual International Song Festival, held at the Catholic University in Rio, where the audience included a large contingent of students who were vehemently opposed to the Tropicalistas. When Veloso (backed by Os Mutantes) performed in the first round of the Festival's song competition on 12 September, he was initially greeted with enthusiastic applause, but the situation soon turned ugly. Dressed in a shiny green plastic suit, festooned with electrical wires and necklaces strung with animal teeth, Veloso provoked the students with his lurid costume, his sensual body movements and his startling new psychedelic music, and the performers were soon being bombarded with loud insults, jeers and boos from the students, who became even more incensed when American pop singer John Dandurand made a surprise appearance on stage during the song.

The ideological conflict climaxed three days later on 15 September when Veloso returned for the second round of the competition, performing a specially-written new song entitled "É Proibido Proibir" ("It is Forbidden to Forbid"). The leftist students began hissing and booing as soon as Veloso's name was announced, and when he began his performance, his overtly sexual stage moves and the experimental music of Os Mutantes again provoked a wild reaction – the students began booing so loudly that the performers could barely be heard, and a section of the crowd then stood up and turned their backs to the stage, prompting Os Mutantes to turn their backs on the audience. As the performance continued, the students pelted the stage with fruit, vegetables, eggs, paper balls and anything else that came to hand. Veloso then stopped singing and launched into an impassioned monologue, in which he excoriated the students for their conservatism. After being joined by Gilberto Gil, who came on stage to show his support, Veloso finished his diatribe by telling the students "...if you are the same in politics as you are in aesthetics, we’re done for!" and declaring he would no longer compete in music festivals. He then deliberately finished the song out of tune, angrily shouted "Enough!" and walked off arm-in-arm with Gil and Os Mutantes. A studio version of the song was later released as a single, and the closing section of the tumultuous live performance featuring Veloso's speech, was issued as the single's B-side. [103] Even though Tropicalismo was controversial among traditional critics, it introduced to Música popular brasileira new elements for making music with an eclectic style.

Veloso studied philosophy at the Universidade Federal da Bahia, which influenced both his artistic expression and viewpoint on life. Among his favorite philosophers were Jean-Paul Sartre, Martin Heidegger, and Herbert Marcuse. Veloso's anti-authoritarian political stance earned him the enmity of Brazil's military dictatorship which ruled until 1985; his songs were frequently censored and some banned.

Imprisonment and exile
In October 1968, Caetano Veloso and Gilberto Gil performed at Sucata club in Rio de Janeiro, with Hélio Oiticica's poem-flag Seja marginal, seja herói displayed on stage. The journalist Randal Juliano of RecordTV propagated a story that Caetano and Gil had sung the Brazilian National Anthem in subversive parody. The two musicians were arrested without trial 27 December 1968—shortly after the military state had passed on 13 December Institutional Act Number Five, which suspended habeas corpus. On 23 January 1969, Veloso underwent interrogation by Major Hilton Justino Ferreira, who asked Caetano whether he had sung the national anthem of Brazil to the melody of "Tropicália," to which Caetano responded that it would be impossible because the verses of the Brazilian anthem are decasyllable and the verses of "Tropicalia" only have eight poetic syllables.

Veloso and Gil were both arrested in February 1969 and held in prison for three months, followed by a further four months under house arrest; they were eventually released on condition that they leave the country, and spent the next few years in exile. He said that "they didn't imprison us for any song or any particular thing that we said," ascribing the government's reaction to its unfamiliarity with the cultural phenomenon of Tropicália—they seemed to say "We might as well put them in prison." The federal police detained the two and flew them to an unknown destination. Finally, Veloso and Gil lived out their exile in London, England. When Caetano was asked about his experience there he says, "London felt dark, and I felt far away from myself." Nevertheless, the two improved their music there and were asked to make a musical production with the producer Ralph Mace.

Musical career (1972–present)
Veloso's work upon his return in 1972 was often characterized by frequent merging not only of international styles but of Brazilian folkloric styles and rhythms as well. His popularity grew outside Brazil in the 1980s, especially in Greece, Portugal, France, and Africa. His records released in the United States, such as Estrangeiro, helped gain him a larger audience.

To celebrate 25 years of Tropicalismo, Veloso and Gilberto Gil released a CD called Tropicalia 2 in 1993. One song, "Haiti", attracted people's attention during the time, especially because it included powerful statements about sociopolitical issues present in Haiti and also in Brazil. Issues addressed in the song included ethnicity, poverty, homelessness, and capital corruption in the AIDS pandemic. By 2004, he was one of the most respected and prolific international pop stars, with more than 50 recordings available including songs in film soundtracks of Michelangelo Antonioni's Eros, Pedro Almodóvar's Hable con ella, and Frida, for which he performed at the 75th Academy Awards but did not win. In 2002 Veloso published an account of his early years and the Tropicalismo movement, Tropical Truth: A Story of Music and Revolution in Brazil.

His first all-English CD was A Foreign Sound (2004), which covers Nirvana's "Come as You Are" and compositions from the Great American Songbook such as "Carioca" (music by Vincent Youmans and lyrics by Edward Eliscu and Gus Kahn), "Always" (music and lyrics by Irving Berlin), "Manhattan" (music by Richard Rodgers and lyrics by Lorenz Hart), "Love for Sale" (music and lyrics by Cole Porter), and "Something Good" (music and lyrics by Richard Rodgers). Six of the seven songs on his third eponymous album, released in 1971, were also in English.

Veloso has contributed songs to two AIDS benefit compilation albums produced by the Red Hot Organization: Red Hot + Rio (1996) and Onda Sonora: Red Hot + Lisbon (1998).

In 2011, he again contributed two songs to the Red Hot Organization's most recent compilation album, Red Hot + Rio 2. The two tracks include a remix of "Terra" by Prefuse 73 ("3 Mellotrons in a Quiet Room Version") and "Dreamworld: Marco de Canaveses", in collaboration with David Byrne.

His September 2006 album, Cê, was released by Nonesuch Records in the United States. It won two Latin Grammy Awards, one for best singer-songwriter and one for Best Portuguese Song, "Não Me Arrependo".

With a total of nine Latin Grammy Awards and two Grammy Awards, Veloso has received more than any other Brazilian performer. On 14 November, 2012, Veloso was also honored as the Latin Recording Academy Person of the Year.

Veloso has been called "one of the greatest songwriters of the century" and "a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney".

In January 2016, Caetano Veloso was a featured artist at the convention of the Modern Language Association (MLA), in Austin, Texas. Before a SRO crowd, he was interviewed on stage by two luminaries in the field of poetry and poetics, Marjorie Perloff (emerita Stanford) and Roland Greene (Stanford, President of MLA at the time). Most of the discussion concerned music, from rock 'n' roll and samba to experimental composition. Videos of the event should be posted at MLA's site and the Stanford Arcade site. He also performed "Isto aqui, o que é?" at the 2016 Summer Olympics opening ceremony along with singers Anitta and Gilberto Gil after the parade of delegations in August 2016.

In May 2018, Veloso performed at the Grand Final of the 2018 Eurovision Song Contest in the Portuguese capital, Lisbon, alongside 2017 winner Salvador Sobral. His live album Ofertório (Ao Vivo) (recorded with his sons Moreno, Zeca and Tom) was ranked as the 25th best Brazilian album of 2018 by the Brazilian edition of Rolling Stone magazine.

In 2018 Veloso participated in Stefano Bollani album "Que Bom" with two songs: "La nebbia a Napoli" and "Michelangelo Antonioni".

In 2023, Rolling Stone ranked Veloso at number 108 on its list of the 200 Greatest Singers of All Time.

Personal life
Veloso married fellow Baiana and actress Andrea Gadelha (or Dedé) on 21 November 1967, in a ceremony that reflected the air of the counterculture era. Their son Moreno was born on 22 November 1972. On 7 January 1979, their daughter Júlia was born 3 months premature; she died 11 days later. Veloso's father died on 13 December 1983. Veloso separated from Dedé Veloso in 1983. In 1986 Veloso married Rio native Paula Lavigne, with whom he had two more sons, Zeca Lavigne Veloso, born 7 March 1992, and Tom Lavigne Veloso, born on 25 January 1997, in Salvador. Paula confirmed to Playboy magazine in 1998 that, "[Paula] was 13 years old when she lost her virginity to the musician, who was 40 years old at the time." Caetano has since been accused of pedophilia. This marriage lasted twenty years. After their separation in 2004, the two still worked together. In 2016, the couple reunited. Veloso's 1989 CD Estrangeiro includes songs ("Esse Amor", which means "This Love", and "Branquinha") inspired by and dedicated to, respectively, his ex-wife Dedé and his wife at the time, Paula Lavigne.

Veloso is one of the few public atheist celebrities in Brazil. He was brought up in a religious Catholic family but left the faith early on. In an interview Veloso stated that he did not like to "lie to his own intelligence" by believing in God. In a separate interview Veloso generated controversy when he said that Brazil would be better off if most people in the country were to become irreligious or atheist. Despite this, two of Veloso's sons have become members of the neo-Pentecostal Universal Church of the Kingdom of God, with Veloso attending his children's baptism, stating that "what is good for them is good for me."

In 2022 Veloso talked about his bisexuality in a show commemorating his 80th birthday.

Musical style
Veloso's home, Bahia, has had a decisive role in his music. He praises Bahia for its importance in Brazil's colonial period—when the Portuguese first came—as well as for Bahia's contribution to Brazilian music. He has cited among his musical influences Amália Rodrigues, Cole Porter, the Rolling Stones 1969 tour, and above all, João Gilberto.

Veloso says that he is unable to make a comparison between his musical style in the 1960s, at the height of Tropicália, and his current work. He does note, however, that he has been able to accomplish music of a higher quality later in his career; that he is "better at everything."

Studio albums

 * 1967: Domingo
 * 1968: Caetano Veloso
 * 1968: Tropicália: ou Panis et Circenses
 * 1968: Veloso, Gil e Bethânia
 * 1969: Caetano Veloso
 * 1971: Caetano Veloso
 * 1972: Transa
 * 1972: Araçá Azul
 * 1975: Qualquer Coisa
 * 1975: Jóia
 * 1977: Caetano... muitos carnavais...
 * 1977: Bicho
 * 1978: Muito
 * 1979: Cinema Transcendental
 * 1981: Outras Palavras
 * 1981: Brasil (João Gilberto album featuring Caetano Veloso, Gilberto Gil and Maria Bethânia)
 * 1982: Cores, Nomes
 * 1983: Uns
 * 1984: Velô
 * 1985: Caetanear
 * 1986: Caetano Veloso
 * 1987: Caetano
 * 1989: Estrangeiro
 * 1991: Circuladô
 * 1993: Tropicália 2 (with Gilberto Gil)
 * 1994: Fina Estampa
 * 1998: Livro
 * 2000: Noites do Norte
 * 2002: Eu Não Peço Desculpa (with Jorge Mautner)
 * 2004: A Foreign Sound
 * 2005: Onqotô
 * 2006: Cê
 * 2008: Caetano Veloso e Roberto Carlos – e a Música de Tom Jobim
 * 2009: Zii e Zie
 * 2012: Abraçaço
 * 2021: Meu Coco

Live albums

 * 1968: Ao Vivo (with Os Mutantes)
 * 1972: Barra 69 ao Vivo na Bahia (with Gilberto Gil)
 * 1972: Caetano e Chico – juntos e ao vivo (with Chico Buarque)
 * 1974: Temporada de Verão – Ao Vivo na Bahia (with Gal Costa and Gilberto Gil)
 * 1976: Doces Bárbaros (with Gal Costa, Gilberto Gil, and Maria Bethânia)
 * 1977: Bicho Baile Show (with Banda Black Rio)
 * 1978: Maria Bethânia e Caetano Veloso ao Vivo (with Maria Bethânia)
 * 1986: Totalmente Demais
 * 1992: Circuladô Vivo
 * 1994: Fina Estampa ao Vivo
 * 1999: Prenda Minha
 * 1999: Omaggio a Federico e Giulietta
 * 2001: Noites do Norte ao Vivo
 * 2002: Live in Bahia
 * 2007: Cê ao Vivo
 * 2011: MTV ao Vivo – Caetano – Zii e Zie
 * 2011: Caetano e Maria Gadú Multishow ao Vivo (with Maria Gadú)
 * 2012: Live at Carnegie Hall (recorded in 2004 with David Byrne)
 * 2013: Abraçaço ao Vivo
 * 2016: Dois Amigos (Caetano Veloso and Gilberto Gil)
 * 2018: Ofertorio
 * 2020: Caetano Veloso & Ivan Sacerdote

Soundtracks

 * 1995: O Quatrilho
 * 1996: Tieta of Agreste
 * 1999: Orfeu
 * 2002: Talk to Her (Hable con ella) (song "Cucurrucucú paloma", live)
 * 2002: Frida
 * 2004: Meu Tio Matou um Cara
 * 2004: Eros
 * 2006: Nacho Libre
 * 2007: Ó Paí, Ó
 * 2008: Romance
 * 2016: Moonlight ("Cucurrucucú paloma")

Compilations

 * 1996: Red Hot + Rio, AIDS-Benefit Album produced by the Red Hot Organization, contributor on track "É Preciso Perdoar"
 * 1998: Onda Sonora: Red Hot + Lisbon, AIDS-Benefit Album produced by the Red Hot Organization, contributor on track "Dreamworld: Marco de Canaveses"
 * 2002: Todo Caetano (box set)

title: Caetano Veloso


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User:Lovely Chris

Hello,

I've actually been a Wikipedia user for about three years now, on and off. I tend to usually make infrequent and fairly minor changes, unless I have some other work I should be doing instead. Then I'll usually start up an article on a minor composer or something (see Léo Delibes, Craig Russell, Robert Moran or Joseph Canteloube, for example)

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Hello and Welcome! I hope you like the place. --mav

Looks like I'm a bit late for an official welcome, but welcome anyway. Always nice to have somebody else doing some stuff on the music pages - nice start on Delibes and Canteloube. If you ever have any questions, you can ask at the Village pump, otherwise, enjoy yourself, and try not to get sucked into the spiralling web of despair that is Wikipedia addiction :) --Camembert

Chris.

Hi, I am a new comer here, and I found u at Queer wikipedians. I am now working mainly on Chinese verision about gay-related articals. And I think you can help me a lot. Hopefully we can be friends! :D --Gboy 04:12 9 Jul 2003 (UTC)

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All done! I'll try not to leave images untagged in future. --Chris

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Hello I am new in wikipedia and interesting in LGBT related topics too. Recently i added new article called . Its about nice Italian LGBT related film created at 1986. But my article was declined becouse of abcent of external links. To my opinion this is not fair, becouse I mentioned the page from IMD. Please help me to approve this article and make it better. Thanks in advance. The link of article is http://en.wikipedia.org/wiki/Wikipedia_talk:Articles_for_creation/The_Flavor_of_Corn  — Preceding unsigned comment added by 46.70.13.169 (talk) 11:41, 18 February 2012 (UTC)

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Hello and Welcome! I hope you like the place. --mav

Hi Pels, "Back to" suggests a hierarchy which is usually not there. You can better incorporate the name of the article you want to link to in the text body, or if that is not well possible, use "See also". - Patrick 02:50 Feb 10, 2003 (UTC)

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User talk:Daniel M. Zipperer

Hello and Welcome! I hope you like the place. --mav

title: User talk:Daniel M. Zipperer


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User:Norman Fellows

Born November 1946

Qualifications MA (Open), Dipl. Arch (Leeds)

1972 Founded Practice - Norman Fellows

1988-2000 Part-time teaching, Matthew Arnold, Oxford and Sawston Village College, Cambridge

1999-2006 Part-time administrating, University of Cambridge International Examinations and the Assessment Qualifications Alliance, UK

2001 Co-founder on Blogger of Archiblog (Online Practice)

2008 Founded Edukit - World Educational System

title: User:Norman Fellows


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User talk:Norman Fellows

Norman Fellows is an online architect and author.

Website: http://www.normanfellows.com

Norman Fellows Fonds: http://norman-fellows-fonds.blogspot.com

title: User talk:Norman Fellows


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Sidney Webb, 1st Baron Passfield

Sidney James Webb, 1st Baron Passfield, (13 July 1859 – 13 October 1947) was a British socialist, economist and reformer, who co-founded the London School of Economics. He was an early member of the Fabian Society in 1884, joining, like George Bernard Shaw, three months after its inception. Along with his wife Beatrice Webb and with Annie Besant, Graham Wallas, Edward R. Pease, Hubert Bland and Sydney Olivier, Shaw and Webb turned the Fabian Society into the pre-eminent politico-intellectual society in Edwardian England. He wrote the original, pro-nationalisation Clause IV for the British Labour Party.

Background and education
Webb was born at 45, Cranbourn Street, near Leicester Square, London, the second of three children of Charles Webb (1828/9-1891) and Elizabeth Mary (1820/21-1895), née Stacey. His father was "variously described as an accountant, a perfumer, and a hairdresser"; his mother was a "hairdresser and dealer in toiletries". Webb's upbringing was "comfortable", the family employing a live-in servant; his father was "a man of local substance" as a rate collector, guardian, and sergeant in a volunteer regiment. Having attended a "first-class middle class day school" at St Martin's Lane, and his parents having sent him abroad to Switzerland and Germany to extend his education, Webb later studied law at the Birkbeck Literary and Scientific Institution for a degree of the University of London in his spare time, while holding an office job. He also studied at King's College London, before being called to the Bar at Gray's Inn in 1885.

Professional life
In 1895, Webb helped to found the London School of Economics with a bequest left to the Fabian Society. He was appointed its Professor of Public Administration in 1912 and held the post for 15 years. In 1892, he married Beatrice Potter, who shared his interests and beliefs. The money she contributed to the marriage enabled him to give up his clerical job and concentrate on his other activities. Sidney and Beatrice Webb founded the New Statesman magazine in 1913.

Political career
Webb and Potter were members of the Labour Party and took an active role in politics. Sidney became Member of Parliament for Seaham at the 1922 general election. The couple's influence can be seen in their hosting of the Coefficients, a dining club that drew in some leading statesmen and thinkers of the day. In 1929, he was created Baron Passfield of Passfield Corner in the County of Southampton. He served as Secretary of State for the Colonies and as Secretary of State for Dominion Affairs in Ramsay MacDonald's second Labour Government in 1929.

As Colonial Secretary he issued the Passfield White Paper that revised the government policy on Palestine, previously set by the Churchill White Paper of 1922. In 1930, failing health caused him to step down as Dominions Secretary, but he stayed on as Colonial Secretary until the fall of the Labour government in August 1931.

The Webbs ignored mounting evidence of atrocities being committed by Joseph Stalin and remained supporters of the Soviet Union until their deaths. Having reached their seventies and early eighties, their books, Soviet Communism: A New Civilisation? (1935) and The Truth About Soviet Russia (1942), still gave a positive assessment of Stalin's regime. The Trotskyist historian Al Richardson later dubbed Soviet Communism: A New Civilization? "pure Soviet propaganda at its most mendacious".

Writings
Webb co-authored with his wife The History of Trade Unionism (1894). For the Fabian Society he wrote on poverty in London, the eight-hour day, land nationalisation, the nature of socialism, education, eugenics,  and reform of the House of Lords. He also drafted Clause IV, which committed the Labour Party to public ownership of industry.

References in literature
In H. G. Wells' The New Machiavelli (1911), the Webbs, as "the Baileys", are mercilessly lampooned as short-sighted, bourgeois manipulators. The Fabian Society, of which Wells was briefly a member (1903–1908), fares no better in his estimation.

Beatrice Webb in her diary records that they "read the caricatures of ourselves... with much interest and amusement. The portraits are very clever in a malicious way." She reviews the book and Wells's character, summarising: "As an attempt at representing a political philosophy the book utterly fails..."

Personal life
When his wife, Beatrice, died in 1943, the casket of her ashes was buried in the garden of their house in Passfield Corner, as were those of Lord Passfield in 1947.

Shortly afterwards, George Bernard Shaw launched a petition to have both reburied in Westminster Abbey, which was eventually granted – the Webbs' ashes are interred in the nave, close to those of Clement Attlee and Ernest Bevin.

The Passfields were also friends of philosopher Bertrand Russell.

In 2006, the London School of Economics, alongside the Housing Association, renamed its Great Dover Street student residence Sidney Webb House in his honour.

Archives
Sidney Webb's papers form part of the Passfield archive at the London School of Economics. Posts about Sidney Webb regularly appear in the LSE Archives blog.

title: Sidney Webb, 1st Baron Passfield


text: User:Philellery

title: User:Philellery


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User talk:Philellery

Hello and Welcome! I hope you like the place. --mav

title: User talk:Philellery


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Sheep dog

A sheep dog or sheepdog is generally a dog or breed of dogs historically used in connection with the raising of sheep. These include livestock guardian dogs used to guard sheep and other livestock and herding dogs used to move, manage and control sheep and other livestock.

The Fédération Cynologique Internationale has grouped Sheepdogs and Cattledogs (except Swiss Cattledogs) in Group 1.

Herding breeds

 * Australian Cattle Dog
 * Australian Kelpie
 * Australian Shepherd
 * Basque Shepherd Dog
 * Beauceron
 * Belgian Shepherds
 * Groenendael
 * Laekenois
 * Malinois
 * Tervuren
 * Bergamasco Shepherd
 * Berger Blanc Suisse
 * Bouvier des Flandres
 * Briard
 * Can de Chira
 * Caucasian Shepherd
 * Can de Palleiro
 * Cão da Serra de Aires
 * Carea Castellano Manchego
 * Carea Leonés
 * Canaan Dog
 * Catahoula Leopard Dog
 * Catalan Sheepdog
 * Chiribaya Dog
 * Collies
 * Bearded Collie
 * Border Collie
 * Rough Collie
 * Scotch Collie
 * Smooth Collie
 * Welsh Sheepdog
 * Croatian Sheepdog
 * Cumberland Sheepdog
 * Dutch Shepherd
 * English Shepherd
 * Finnish Lapphund
 * Garafian Shepherd
 * German Shepherd
 * Gaucho sheepdog
 * Huntaway
 * Icelandic Sheepdog
 * Koolie
 * Komondor
 * Lancashire Heeler
 * Lapponian Herder
 * Magellan sheep dog
 * McNab
 * Miniature American Shepherd
 * Mudi
 * New Zealand Heading Dog
 * Norwegian Buhund
 * Old English Sheepdog
 * Pastore della Lessinia e del Lagorai
 * Picardy Shepherd
 * Polish Lowland Sheepdog
 * Polish Tatra Sheepdog
 * Portuguese Sheepdog
 * Puli dog
 * Pumi
 * Pyrenean Shepherd
 * Rottweiler
 * Slovak Cuvac
 * Tornjak
 * Schapendoes
 * Schipperke
 * Shetland Sheepdog
 * Smithfield
 * Swedish Lapphund
 * Swedish Vallhund
 * Welsh Corgis:
 * Cardigan Welsh Corgi
 * Pembroke Welsh Corgi

Livestock guardian dog breeds

 * Aidi
 * Akbash dog
 * Aksaray Malaklisi
 * Armenian Gampr
 * Ashayeri Dog
 * Azerbaijani Shepherd Dog
 * Bakharwal dog
 * Bucovina Shepherd
 * Buryat-Mongolian Wolfhound
 * Cane di Mannara
 * Cão de Castro Laboreiro
 * Cão de Gado Transmontano
 * Carpathian Shepherd Dog
 * Caucasian Shepherd Dog
 * Central Asian Shepherd Dog
 * Estrela Mountain Dog
 * Georgian Shepherd
 * Ghadrejani dog
 * Great Pyrenees
 * Greek Shepherd
 * Gurdbasar
 * Himalayan Sheepdog
 * Kangal Shepherd
 * Karakachan
 * Kars
 * Karst Shepherd
 * Komondor
 * Koyun dog
 * Kuchi
 * Kuvasz
 * Maremmano-Abruzzese Sheepdog
 * Mazandrani dog
 * Mioritic Shepherd
 * Mongolian banhar
 * Mucuchies
 * Persian Mastiff
 * Polish Tatra Sheepdog
 * Pshdar dog
 * Pyrenean Mastiff
 * Rafeiro do Alentejo
 * Romanian Raven Shepherd Dog
 * Sardinian Shepherd Dog
 * Šarplaninac
 * Shirak Sheepdog
 * Slovak Cuvac
 * Spanish Mastiff
 * Tibetan kyi apso
 * Tibetan Mastiff
 * Tobet
 * Torkuz
 * Tornjak
 * Vikhan Sheepdog

title: Sheep dog