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Kenny Clarke

Kenneth Clarke Spearman (January 9, 1914 – January 26, 1985), known professionally as Kenny Clarke and nicknamed Klook, was an American jazz drummer and bandleader. A major innovator of the bebop style of drumming, he pioneered the use of the ride cymbal to keep time rather than the hi-hat, along with the use of the bass drum for irregular accents ("dropping bombs").

Born in Pittsburgh, Pennsylvania, he was orphaned at the age of about five and began playing the drums when he was eight or nine on the urging of a teacher at his orphanage. Turning professional in 1931 at the age of seventeen, he moved to New York City in 1935 when he began to establish his drumming style and reputation. As the house drummer at Minton's Playhouse in the early 1940s, he participated in the after-hours jams that led to the birth of bebop. After military service in the US and Europe between 1943 and 1946, he returned to New York, but from 1948 to 1951 he was mostly based in Paris. He stayed in New York between 1951 and 1956, performing with the Modern Jazz Quartet and playing on early Miles Davis recordings. He then moved permanently to Paris, where he performed and recorded with European and visiting American musicians and co-led the Kenny Clarke/Francy Boland Big Band between 1961 and 1972. He continued to perform and record until the month before he died of a heart attack in January 1985.

Early life and career (1914–1935)
Clarke was born in Pittsburgh, Pennsylvania on January 9, 1914 as the youngest of two sons, to Martha Grace Scott, a pianist from Pittsburgh, and Charles Spearman, a trombonist from Waycross, Georgia. The family home was on Wylie Avenue in the Lower Hill District of Pittsburgh. Clarke's father left the household to start a new family in Yakima, Washington, and his mother, who began a relationship with a Baptist preacher shortly afterwards, died suddenly in her late twenties when Clarke was about five, leaving him an orphan. He and his brother were placed in the Coleman Industrial Home for Negro Boys. He played in the orphanage's marching band on the snare drum, which he had taken up on the urging of a teacher at about age eight or nine, after trying a few brass instruments. When he was young he also played the piano, on which his mother had taught him to play simple tunes, along with the pump organ at the parish church, for which he played hymns and composed pieces that were introduced there. At the age of eleven or twelve, he and his brother resumed living with his stepfather, who did not look favorably upon music or associating with those involved with it. He dropped out of Herron Hill Junior High School at the age of fifteen. Around the same time, his stepfather threw Clarke and his brother out of his house after an argument, and Clarke was placed without his brother in a foster home, where he lived for about a year until his sixteenth birthday.

He then took on several odd jobs while establishing his music career, becoming a local professional with the Leroy Bradley Band by the age of seventeen. After touring with the Roy Eldridge band through Pennsylvania, West Virginia, and Ohio, he returned to Bradley's band based at the Cotton Club in Cincinnati. He stayed with that band for two years, broken up by a two-month stint with the Jeter-Pillars Orchestra, which at the time included trumpeter Harry Edison and bassist Walter Page, who would go on to be featured in the Count Basie Orchestra. Around this time he took up the vibraphone, with assistance from Adrian Rollini, a pioneer on the instrument.

Move to New York and innovations (1935–1943)
In late-1935, Clarke moved to New York City, where he dropped the surname Spearman to become known as Kenny Clarke. He doubled on drums and the vibraphone in a trio with his half-brother Frank, a bassist and guitarist who had recently moved to New York and likewise changed his surname from Spearman to Clarke to profit from Kenny's newfound fame. In 1936, Clarke played alongside guitarist Freddie Green in a group fronted by tenor saxophonist Lonnie Simmons, where he began to experiment with rhythmic patterns against the basic beat of the band. From April 1937 to April 1938, he was in Edgar Hayes's group, still doubling on vibraphone, where he made his recording debut and traveled overseas for the first time. When he returned to the US with the band, he struck up a personal and musical friendship with trumpeter Dizzy Gillespie who had been hired for the group's one-week stint at the Apollo Theater in New York. In his book Drummin' Men: The Heartbeat of Jazz, music critic Burt Korall writes of this time period: "Clarke was moving beyond mere functional timekeeping. He had begun to outline and emphasize ensemble, brass, and saxophone figures and to support soloists in the manner that before long would be identified as his. ... The revision of the swing drum style had not yet become fully apparent. But it was clear Clarke was working on something new." He was encouraged in these endeavors by composer/arranger Joe Garland, who gave him the band's trumpet parts, and suggested that he play along with the brass when he felt it necessary to emphasize or support their lines.

He then spent eight months playing drums and the vibraphone in Claude Hopkins's group, before Gillespie gave Clarke an opening to join him in the Teddy Hill band in the Savoy Ballroom in 1939. While playing for this group on a fast tune, he came upon the idea of using the ride cymbal on his right hand to keep time rather than the hi-hat, an approach that freed up his left hand to play more syncopated figures. On the bass drum he played irregular accents (dropping bombs), while using the hi-hat on the backbeats, adding more color to his drumming. With Gillespie, who encouraged this new approach to time keeping, Clarke wrote a series of exercises for himself to develop the independence of the bass drum and snare drum, while maintaining the time on the ride cymbal. One of these passages, a combination of a rimshot on the snare followed directly by a "bomb", reportedly inspired Clarke's nickname, "Klook", which was short for "Klook-mop", in imitation of the sound this combination produced. At the 1939 New York World's Fair, Clarke played opposite a band led by fellow drummer Chick Webb, who strongly influenced him and encouraged his rhythmic explorations. He was briefly fired from Hill's band due to unrest in the trombone section about his unorthodox time-keeping methods, but later returned and stayed with the group until it disbanded in 1940. He then worked with bands led by Sidney Bechet, Ella Fitzgerald (where he and Gillespie are said to have co-written the composition "Salt Peanuts"), and Louis Armstrong, before working with Roy Eldridge once again along with the Count Basie Orchestra. He also made recordings with Bechet, Fitzgerald, and Mildred Bailey.

In 1941, Clarke was hired by Hill, who had become the manager of Minton's Playhouse in Harlem, to handle the music at the club. Clarke was given free rein over whom he could hire and which style of music he could play. The house band consisted of trumpeter Joe Guy, pianist Thelonious Monk, bassist Nick Fenton, and Clarke on drums. Regulars at the club included Gillespie and guitarist Charlie Christian, and bandleaders such as Count Basie, Duke Ellington, and Benny Goodman listened to or participated in the sessions. In his entry on Clarke in American National Biography, Barry Kernfeld wrote: "The sessions became famous for demonstrations of virtuosity—unexpected harmonies, fast tempos, unusual keys—that discouraged those whose style did not fit in well. These experimental sounds were crucial to the development of bebop." It was in this setting that Clarke and Monk co-wrote the jazz standard "Epistrophy", originally known as "Fly Right". He then led his own band at Kelly's Stables in New York, the Kansas City Six, featuring tenor saxophonist Ike Quebec, where the two are said to have come up with the riff tune "Mop Mop", played in a septet with saxophonist Benny Carter, and performed with Red Allen's band in Boston and Chicago.

Military service and later career in the United States (1943–1956)
Clarke was drafted into the US Army and reported for induction in 1943. During his basic training in 1944, he married singer Carmen McRae. He went absent without leave for nearly four months, during which time he played with Cootie Williams and Dinah Washington, before being captured and sent to Europe. He eventually became part of the Special Services where he led and sang in chorales and performed on drums, trombone, and piano in various bands. While in Paris he met pianist and arranger John Lewis, with whom he began a long association.

Shortly after being discharged from the military in 1946, Clarke converted to Islam and took the name Liaquat Ali Salaam. He joined Dizzy Gillespie's band for eight months, replacing Max Roach, who had become the most important bebop drummer in Clarke's absence. Clarke introduced Lewis to the band and made several bop recordings with Gillespie's sextet including "One Bass Hit (part 1)" and "Oop Bop Sh'Bam", where his nickname was enshrined in the scat lyrics "Oop bop sh'bam a klook a mop". He left Gillespie's band temporarily and worked with Tadd Dameron, Sonny Stitt, Fats Navarro, and his own 52nd Street Boys, before rejoining Gillespie's group in December 1947. He embarked on a tour with the band in Europe in early 1948, which he considered the highlight of his career. He stayed on in Paris until that August, recording, performing, teaching, and helping to select musicians for the First International Jazz Festival. He then returned to New York for nine months to work with Dameron's group at the Royal Roost. During this time he also played with bassist Oscar Pettiford's band and recorded in the second session of what became the Miles Davis album Birth of the Cool. Also around this time, or perhaps shortly afterward, he developed an addiction to heroin that lasted until at least the 1960s. In 1948, he permanently separated from McRae; they divorced in 1956. In May 1949, Clarke returned to Paris for the festival, making the city his home base for the next two years. While there he worked and recorded with bands led by pianist Bernard Peiffer and saxophonist Coleman Hawkins, and returned to Bechet's band. At this time he met and had a brief affair with jazz singer Annie Ross, which resulted in a son, Kenny Clarke Jr. (born 1950), who was raised by Clarke's brother and his wife.

Upon returning to New York in 1951, he toured with Billy Eckstine, and made recordings with saxophonist Charlie Parker's quintet and Milt Jackson's quartet. Jackson's ensemble, which included Clarke's friend John Lewis, became the Modern Jazz Quartet, and he performed with the group at the first Newport Jazz Festival in 1954 and recorded for their albums Modern Jazz Quartet (1952), 1953: An Exceptional Encounter (1953), and Django (1953–1955). He left the ensemble in 1955, saying "I wouldn't be able to play the drums my way again after four or five years of playing eighteenth-century drawing-room jazz". Korall wrote of his work in the group: "During that period, Clarke provided his share of identity for the band. His cymbal sound and bass drum work were light and quietly persuasive. Charming rudimental touches – well-executed ruffs, triplets, short rolls on a tightly tuned snare – added dimension as he danced within or around the time. His solos, in short bursts, were conceptually strong, well played, often fascinating, and a little more complex than they seemed."

Between 1951 and 1954, Clarke recorded with Miles Davis, including tracks that appeared on the 1957 compilation albums Bags' Groove and Walkin', along with 1959's Miles Davis and the Modern Jazz Giants. Korall described these recordings as "his best work of the 1950s – perhaps of his entire career", writing: "Clarke follows feelings, lives inside the pulse, defining the contours, dynamics, and implications of each solo and each piece. Like Dave Tough, he is a totally unselfish player – nonintrusive yet spirited and spiritual." In mid-1955 he rejoined Pettiford's group at Café Bohemia, later working with him and pianist Phineas Newborn Jr. at Basin Street West and recording with Pettiford on Newborn's 1956 album Here Is Phineas. During this period he was the resident drummer and a talent scout for Savoy Records, introducing the label to artists such as saxophonists Cannonball Adderley and Pepper Adams, and trumpeter Donald Byrd. He often worked with recording engineer Rudy Van Gelder, who dubbed Clarke's location in his studio "Klook's corner".

Move to Paris and later life (1956–1985)
In September 1956, Clarke moved to Paris where he initially worked with Jacques Hélian's orchestra, before holding engagements at the Club Saint-Germain and the Blue Note. He regularly worked with visiting American musicians such as Miles Davis, Dizzy Gillespie, and Stan Getz, contributing with Davis to the soundtrack recording for Ascenseur pour l'échafaud (Elevator to the Gallows). Clarke also formed a trio, known as "The Three Bosses", with pianist Bud Powell, another Paris resident, and bassist Pierre Michelot, who also performed on the Davis soundtrack. In 1963, The Three Bosses recorded the album Our Man in Paris with tenor saxophonist Dexter Gordon. In 1961, with Belgian pianist Francy Boland, Clarke formed the Kenny Clarke/Francy Boland Big Band, featuring leading European and expatriate American musicians. It began touring in 1966 and was active until 1972. Korall said of his contribution to the band: "Playing softer than most drummers in a large ensemble, feeding the surge, doing the work of the great accompanist he always had been, Clarke consistently proved flash is totally irrelevant. He used just enough decoration to make the band's music, much of it with a blues base, a bit more exciting and interesting for the players and listeners."

In 1962, he married Daisy Wallbach, a Dutch woman, and they settled in the Paris suburb of Montreuil. The couple had a son, Laurent (born 1964). Clarke began a drumming school with Dante Agostini at the headquarters of the instrument maker Henri Selmer Paris in 1965, and he and Agostini spent seven years creating a drumming method. In 1967, he began teaching at the Saint-Germain-en-Laye Conservatoire (where he worked until 1972). He had a period of convalescence after a heart attack in 1975, before going to Chicago in September 1976 for a reunion of Gillespie's big band. In 1979, he taught jazz at the University of Pittsburgh as a substitute for his friend Nathan Davis. He continued to perform at European jazz festivals until 1983 and made his last performances at a five-night-a-week engagement in December 1984. On January 26, 1985, he died of a second heart attack at his home; he was 71.

Recognition
Clarke was made an NEA Jazz Master in 1983 and inducted into the DownBeat Jazz Hall of Fame through the Critics' Poll in 1988.

As leader or co-leader
Kenny Clarke / Francy Boland Big Band (1962–1971)
 * Special Kenny Clarke 1938–1959 (Jazz Muse)
 * Telefunken Blues (Savoy, 1955)
 * Kenny Clarke & Ernie Wilkins (Savoy, 1955) with Ernie Wilkins
 * Bohemia After Dark (Savoy, 1955)
 * Klook's Clique (Savoy, 1956)
 * Jazzmen: Detroit (Savoy, 1956)
 * Plays André Hodeir (Philips, 1956)
 * The Golden 8 (Blue Note, 1961)
 * Americans in Europe Vol. 1 (Impulse!, 1963)
 * Pieces of Time (Soul Note, 1983)
 * see discography section of The Kenny Clarke-Francy Boland Big Band

As sideman
With Nat Adderley

 * That's Nat (Savoy, 1955)

With Gene Ammons With Elek Bacsik With Eddie Bert With Ray Bryant With Kenny Burrell With Donald Byrd With Eddie "Lockjaw" Davis and Johnny Griffin With Miles Davis With Art Farmer With Frank Foster With Dizzy Gillespie With Dexter Gordon With Johnny Griffin With Urbie Green With Hampton Hawes With Noah Howard With Milt Jackson With J. J. Johnson and Kai Winding With Hank Jones With Lee Konitz With John Lewis With Carmen McRae With Charles Mingus With the Modern Jazz Quartet With Thelonious Monk With Jean-Christian Michel With Mark Murphy With Phineas Newborn Jr. With Sahib Shihab With Zoot Sims With Idrees Sulieman With Cal Tjader With Julius Watkins With Frank Wess With Joe Wilder With Ernie Wilkins
 * All Star Sessions (Prestige, 1950–55 [1956])
 * Gene Ammons and Friends at Montreux (Prestige, 1973)
 * The Electric Guitar of the Eclectic Elek Bacsik (Fontana, 1962)
 * Musician of the Year (Savoy, 1955)
 * Encore (Savoy, 1955)
 * Montage (Savoy, 1955)
 * Ray Bryant Trio (Epic, 1956)
 * Jazzmen Detroit with Kenny Burrell, Tommy Flanagan, Pepper Adams, Paul Chambers (1956; Savoy)
 * Introducing Kenny Burrell (Blue Note, 1956)
 * Byrd's Word (Savoy, 1955)
 * Tough Tenors Again 'n' Again (MPS, 1970)
 * Birth of the Cool (Capitol, 1949)
 * Bags' Groove (Prestige, 1957)
 * Walkin' (Prestige, 1957)
 * Ascenseur pour l'échafaud (Fontana, 1958)
 * Miles Davis and the Modern Jazz Giants (Prestige, 1959)
 * Early Art (New Jazz, 1954)
 * When Farmer Met Gryce (Prestige, 1954) with Gigi Gryce
 * No 'Count (Savoy, 1956)
 * The Complete RCA Victor Recordings (Bluebird, 1937–1949, [1995])
 * Dizzy Gillespie and the Double Six of Paris (Philips, 1963)
 * The Giant (America, 1973)
 * The Source (America, 1973)
 * Our Man in Paris (Blue Note, 1963)
 * Blues à la Suisse (Prestige, 1973)
 * Night Lady (Philips, 1964)
 * Blues and Other Shades of Green (ABC-Paramount, 1955)
 * Playin' in the Yard (Prestige, 1973)
 * Red Star (Mercury, 1977)
 * Roll 'Em Bags (Savoy, 1949–56)
 * Wizard of the Vibes (Blue Note, 1952)
 * Meet Milt Jackson (Savoy, 1954–56)
 * Opus de Jazz (Savoy, 1955)
 * Ballads & Blues (Atlantic, 1956)
 * The Jazz Skyline (Savoy, 1956)
 * Jay and Kai (Columbia, 1957)
 * The Trio (Savoy, 1955)
 * Bluebird (Savoy, 1955)
 * Quartet-Quintet (Savoy, 1955)
 * Hank Jones' Quartet (Savoy, 1956)
 * Lee Konitz with Warne Marsh (Atlantic, 1955)
 * Afternoon in Paris (Atlantic, 1957) with Sacha Distel
 * Carmen McRae (Bethlehem 1954)
 * Jazz Composers Workshop (Savoy, 1954–55)
 * Modern Jazz Quartet (Prestige, 1952)
 * Django (Prestige, 1956)
 * 1953: An Exceptional Encounter (The Jazz Factory, 2001)
 * Thelonious Monk Plays the Music of Duke Ellington with Thelonious Monk, Oscar Pettiford (Riverside, 1955)
 * Sacred Music (Barclay, 1969)
 * JQM (General Records, 1972)
 * Ouverture spatiale (General, 1974)
 * Eve des Origines (General, 1976)
 * Port Maria (General, 1977)
 * Midnight Mood (MPS, 1968)
 * Here Is Phineas (Atlantic, 1956)
 * Summer Dawn (Argo, 1964)
 * Seeds (Vogue Schallplatten, 1968)
 * Companionship (Vogue Schallplatten, 1964–70 [1971])
 * Lost Tapes Baden-Baden 1958 (SWR, 2014)
 * Bird's Grass (SteepleChase, 1976 [1985])
 * Cal Tjader: Vibist (Savoy, 1954)
 * Julius Watkins Sextet (Blue Note, 1954)
 * North, South, East....Wess (Savoy 1956)
 * Opus in Swing (Savoy, 1956)
 * Wilder 'n' Wilder (Savoy, 1956)
 * Flutes & Reeds (Savoy, 1955) with Frank Wess
 * Top Brass (Savoy, 1955)

title: Kenny Clarke


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Strip game

Strip games or stripping games are games which have clothing removal as a gameplay element or mechanic.

Classification
There are two broad categories of these games: the first are sexualized, and getting other people to remove their clothes is one of the aims of the game. The second are not sexualized, and taking off some clothes is done to distinguish between two teams: Young men playing soccer, and because there is no other way, one of the teams is where the players take off their shirts, which is also known as shirts versus skins.

In the sexualised games, the eventual complete loss of clothing is considered part of a usual game in the style of a striptease. Games involving stripping have been invented independently of non-stripping game. Games not normally involving clothing loss can be adapted into strip games. Some rulesets can be adapted more easily than others; but generally strip games are flexible and intended to generate an atmosphere of fun in a group of consenting adults.

Mahjong
Many strip mahjong video games have been published, especially by Japanese software companies.

Murchéh daréh
"Murcheh dareh che kar konam?" ("There are ants [here], what shall I do?"), or just "Murcheh dareh" (مورچه داره, There Are Ants), is a traditional Iranian dance-based game played by women, although a parody played by men exists ("Zar gazidam").

Poker
Strip poker is a party game and a variation of the traditional poker where players remove clothing when they lose a round. Any form of poker can be adapted to a strip form; however, it is usually played with simple variants with few betting rounds, like five-card draw.

Strip poker can be played by single-sex groups or by mixed groups in social situations and intended to generate an atmosphere of fun and to lighten the social atmosphere by the removal of clothing. While the game is sometimes employed as a type of foreplay, it is itself usually not considered a sexual interaction due to the fact that it does not require contact and full nudity is involved only at the end of the game or sometimes not at all (depending on rule variants). The game is sometimes integrated with Truth or Dare? rules. Strip poker has been adapted for solo gameplay, such as by use of online or offline video games.

Rules
At the beginning of each turn, each player must remove an article of clothing as an ante. If there are two couples playing there should be four shoes in the pot before the cards are dealt. At the outset, one of the articles of clothing is removed from the game permanently. So the winner will receive three articles of clothing in the ante.

The opener must bet, and they can be raised, just like ordinary poker. After the draw, the players make another bet, like regular poker. Once an article of clothing is removed, it cannot be put back on. The clothing is just used as a stake for betting. Only clothing can be bet. No player may withdraw once the game begins without forfeiting all articles of clothing.

Strategy
In some rule sets, players who fold before the flop are not required to remove clothing. As such, a player who is uncomfortable removing clothing (or, more commonly, a player who does not want to remove all their clothing first) can simply fold very often or every time before the flop, essentially playing a "tight" pre-flop strategy. Using this strategy, a player could stay clothed for the entire game simply by folding their hands.

Strip poker requires a different overall strategy from poker played with betting chips since the maximum loss on a hand of strip poker is (typically) one item of clothing. In a betting environment, a player who stays in the pot with a weak hand is liable to lose many chips in a single hand. In strip poker, the risk of staying in a hand is significantly limited, so players can play hands with lower probabilities than they would in a cash game. For example, in a cash game, because it occurs only 8% of the time, an inside straight draw might be a poor hand to play, hence the saying "Never draw to an inside straight." In strip poker, when the potential loss is only one item of clothing whether you fold or call, an 8% chance to win the hand is better than the alternative.

Another variant uses some sort of betting token, allowing for normal poker strategies. Once a player runs out of tokens, they can "sell" a piece of clothing for more tokens in order to stay in the game.

History
While it has been suggested that strip poker originated in New Orleans brothels in the United States around the same time as original poker in the 19th century, the term is only attested since the 20th century. Strip poker most likely began as a prank or hazing among college-age boys, and as late as the 1930s, the current mixed-gender version was called "mixed strip poker" in England to differentiate it from the all-male variety.

Yakyūken
Popularised by Kinichi Hagimoto (although he later expressed regret) and inspired by contemporary Japanese baseball pep routines — Yakyūken (野球拳) means 'baseball fist' — strip games became a popular fixture of comedy and game shows in the mid-20th century initially in the form of yakyūken, in which several rounds of jyan-ken-pon (rock-paper-scissors) are played and televised, with the loser removing a layer of clothing.

Legality

Depending on jurisdiction and the particular circumstances of the game, strip games may encounter regulation on the grounds of clothes-wearing (or not wearing) norms, gaming and gambling, and sexual expression. Additionally, verbally coercing someone to play a strip game is often considered a form of sexual harassment.

In 2013, the concept of strip sports betting was launched in the United States by creating live internet broadcasts using models and pornstars who bet on football games and take their clothes off as they lose.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Strip game


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Talk:Charles Aznavour

Greatest hits?
What's the point of the "greatest hits" section of this article? It is a track list of one of his albums. What kind of valuable information does that bring across? I suggest that it is removed. —Preceding unsigned comment added by 95.34.83.114 (talk) 12:54, 31 August 2009 (UTC)

We can keep it to show an example of his more successfull songs, as he's a Foreigner Artist. —Preceding unsigned comment added by Bespin74 (talk • contribs) 17:42, 6 January 2010 (UTC)

Comment
List of his biggest hits? Pete/Pcb21 (talk) 10:35, 8 Mar 2004 (UTC)
 * Yes, a discography is missing. Añoranza 06:42, 4 July 2006 (UTC)
 * Best Hits added Armatura 13:50, 11 February 2007 (UTC)

Charles Aznavour Este, probabil, Cele mai cunoscut artist francez - renumit in toata lumea este pentru melodiile de dragoste pe de îngrijire le-a Scris ŞI cantat, ce par sa încorporeze esenţa cântecului francez populare si, de asemenea, vânzarea pentru apariţiile în Filme, CA Trage Piano Player, Candy, SI Tin Drum.

Statutul lui de icon al Culturii populare franceze Este o ironie de îngrijire pentru om ONU SE identificarea Cel mai îndeaproape Cu mostenirea SA armeana.Si-o Ro debutul, pe Scena ŞI pe ecran, la vârsta de Nouă ani, în 1933, în Piesa de Teatru "Un Bon Petite diable" SI, în filmul "La Guerre des Gosses".

La sfarsitul anului 1935, Charles interpreteaza rolul lui Henric al III-lea Alături de actrita Yvonne Printemps în filmul regizat de Pierre Fresnay. În Timpul adolescentei il intalneste pe Pierre Roche, pianist si compozitor Tânăr, caruia i se alatura si formeaza duo-ul Aznavour şi Roche. APAR în spectacole de cabaret in Franta si Belgia.

Un depăşească învăţat sa-si temerile in legatura Cu vocale vânzare limitele, în Parte Mare, Cu ajutorul legendarei cantarete Edith Piaf, de îngrijire pentru un CA Sofer lucrat, printre Alte Activitati; Cu ajutorul ei, el o grijă dezvoltat ONU Stil SA potrivit abilităţilor lui si o continuat sa scrie Cantece, unele dintre îngrijire Fost interpretate au pair de Edith Piaf - Les Compagnos de la Chanson. Primul cantec Scris de Aznavour pentru George Ulmer, "J'ai bu", un castigat Premiul "Discul anului".

În 1947 se alatura cantaretei Edith Piaf turneu Mare Intr-ONU în Franta, IAR Mai tarziu o insoteste la stat pentru o serie de spectacole din New York. Traverseaza granita in Canada si se stabileste in Quebec Tier sustine spectacole la Gold Fazan Impreuna Cu Club Roche Timp de 40 de saptamani, 11 spectacole pe Saptamana Cu peste 600 de persoane prezente la perle fiecare spectacol.

Influentat de Edith Piaf, el renunta la colaborarea Cu Roche si se alatura editorului Muzical Raoul Breton, Alături de îngrijire a compune Je Hais les Dimanches pentru Juliette Greco, precum si pentru Cantece Maurice Chevalier. În câţiva ani scurt, jurnalist francez ONU un Scris: "Franta un completat Fost Aznavourizata". Nu exista concert în Franta în îngrijire SA Nu-ţi fie ruşine interpretata macar o Piesa scrisa de Charles Aznavour. Cu toate ca mass-media era indragostita de cantecele lui, gaseau EI Vocea artistului inacceptabila, SAU IAR stilul de cantaret si actor non - comercial.

În 1954, Charles avea Mai Mult de 30 de piese de succes, compuse de el. Dupa 3 saptamani in grija Este atractia Principala La Alhambra din Paris, CEI DIN Industria Muzicala franceza au pair inteles ca se poate Conta pe Aznavour. Acum, el inregistreaza, scrie, canta si danseaza (Ma Jeunesse, Parce Que, Au creux de Mon epaule, ma Sur Vie, apres L'amour).

În 1958, joaca lei Intr-ONU dramatice, cel al unui epileptic version filmul lui George Franju, "La Tete Contre les Muirs". DE, EL asemenea un compus muzica pentru filmul lui Alex Joff - Du Rififi Chez Les Femmes în 1958; de acolo, el un trecut la roluri Mai Mari, în Filme Mai Bune, including filmul lui Cocteau-Testament Jean de Orfeu ŞI François Truffaut - Trage Piano Player. Ultimul film Trage-Piano Player la transformat pe stele Aznavour Intr-ONU de cinematografe din Franta si este deschis Calea catre America.

În 1963, Charles Este protagonistul unui spectacol la Carnagie Hall din New York. Criticii pacta sunt entuziasmati. Urmeaza turneul Mondial, dupa concertele sustinute in Liban, Grecia si Africa de Nord, urmeaza Uniunea Sovietica (fostul URSS). Vinde Mai Mult de un milion de albume La Mamma. În 1965, concerteaza pe Olympia Timp de 12 saptamani, acompaniat de o orchestra cunoscuta lui Paul Mauriat. Dupa o scurta calatorie în stat, se intoarce În Pentru Paris o organizarea SAU Primul spectacol de Opereta-Domnule Carnavalul de la Chatelet. Incepe ONU turneu Mondial Nou, date de aceasta în Canada, Martinica, Guadelupa, Maroc, Spania, Portugalia, Angola si în final, Africa de Sud.

În 1971, Aznavour Este Distribuit Alături de Michel Constantin si Raymond Pellegrin în filmul partea leului. Single-ul "Old Fashioned Way" ajunge pe Locul 1 în topuri.

În noiembrie 1972, Charles sustine spectacole la Sala Olympia din Paris, Timp de 6 saptamani - 3 saptamani interpreteaza melodii Noi si în celelalte trei saptamani delecteaza publicul Cu o mai mare hit-uri Colectie. În melodia "I acţionează ca travestitii", Aznavour indrazneste sa dezbata Subiect controversat al ONU -. În 1964, primeste Premiul pentru Cel mai Brumel Bine imbracat artist pop. "În seara asta Aznavour-de la trecut la prezent" - este inregistrat ONU retrospectiv album live la Olympia si includ CA piese, Il faut Savoir, ma Sur Vie, Viens au pair creux de Mon Epaule, Cu Ea, Charles castiga discul de aur în Londra, gasesc Primul artist francez de îngrijire reuseste aceasta performanata. Este cel Mare Mai Ambasador al Frantei peste Hotare.

La inceputul anului 1975, paraseste Franta pentru o serie de Concerte în Japonia. În luna noiembrie pentru un acelasi una, un recital sustinut ONU Regal Regina Elisabeta.

Dupa o grupa A de 3 ani, Aznavour ISI se confruntă cu o Aparitie triumfatoare la Olympia Tier sustine spectacole Timp de 4 saptamani. El stralucitoare sunt o revenire pe Scena Muzicala pariziana Cu piese ca Noi, Voila Que Tu Reviens, Gurmandise Par, Mes Emmerdes si Merci Madame La Vie. Pentru Charles Azvnavour lucrurile MERG PE Bine ambele parti ale Atlanticului-Ray Cahrles inregistreaza La Mamma, Shirley Bassey si Fred Astaire inregistreaza Old Fashioned Way, Liza Minelli IAR inca interpreteaza multe DIN vânzare piesele. Charles Aznavour confirma puterea vocii si talentului Cu o SAU Camarade-o melodie Cu sensibilitate Devine ce a lovit rapidă ONU. 1977, ONU Este un plin în îngrijirea il gasim pe Charles concertand Tari în CA, Iugoslavia, Italia, Germania si Canada. 1978 Este inca ONU pentru un deosebit Aznavour-Inca o datelor el concerteaza la Olympia, Tier ISI intalneste publicul iubit pe voi grija seduce Nou Cu DIN vânzare melodiile Noi si Vechi Timp de 4 saptamani. Noul album, "Je n'ai pas vu Le Temps Passer", include melodiile, "J'ai vu la Paris", "La Chanson du Faubourg", "Dieu", "Avant le Guerre". Anii de îngrijire AU urmat au pair Fost plini de succes pentru artist, el un compus, o cantat, o concertat si inregistrat o în 81 de Tari DIN intreaga Lume. În 1981, inregistreaza albumul Charles Aznavour cântă Dimey. În perioada aceasta, dupa 40 de ani de Cariera în muzica, colectia de Materiale eră discografice de 600 de melodii si inregistrate peste 1000 de piese compuse.

În 1988, în urma unui cutremur puternic în Armenia, incepe actiunea Aznavour-Aznavour pentru Armenia. 89 de Artisti inregistreaza melodia For You si Armenia, dupa numai o Saptamana de la lansare ajunge pe Locul 1 si ramane in Top 50, 13 saptamani. S-au vandut 2 milioane de exemplare numai in Franta. În 1989, albumul lansat Nou Este ONU - Greatest Hits ". Cand cineva la intrebat de vânzare pe Aznavour Despre planurile de Viitor, acesta un raspuns: Nu am nici planul ONU. Am O Viata de umplut - se tăia ca acesta Este numai inceputul. În 1991, apare pe Scena Alături de Liza Minelli-in spectacole sustinute la New York, Washington, Toronto si Montreal. În Decembrie 1994, sustine concerte excepţionale ONU din Viena Alături de Placido Domingo. 1998-ONU turneu Nou-4 saptamani pe Broadway, din New York, Eveniment ONU pentru UNIC artist francez al ONU, o Saptamana în Los Angeles, două spectacole la Moscova la Kremlin si 2 din Sankt Petersbourg. În 2004, în perioada 16 aprilie-22 Mai de la CEI 80 ANI AI SAI, Charles Aznavour concerteaza la Palais des Congres Urmand turneu apoi ONU din Franta si Belgia.

Aznavour AR Fi Ultimul CEI îngrijire S-AR Cu comparativă PE îngrijire ii considerabil adevarati vocalisti talentati, cum AR Fi Sinatra ŞI Mel Torme, el preferând sa se gândească la sine ca compozitor la ONU, de îngrijire de asemenea, se întâmplă sa cânte. Stilul lui de o interpretare o Fost Cu adesea comparat Maurice Chevalier ŞI Frank Sinatra ŞI Extrem rămas un artist ONU de popular si iubit Timp de multe decenii.

Overly Armenian?
dont get me wrong, i like how Aznavour is proudly Armenian and i support Armenians vehemently, but Aznavour did make his career in France and there is no illustration of his star power in France. Perhaps finding picture that justifies fair use of him singing at a popular French venue would be appropriate, as every single picture of Aznavour currently relates to Armenia.

otherwise, the article is quite well written. :-)

--OettingerCroat 05:10, 23 October 2007 (UTC)

 * Off course you're right! As Aznavour asks: "Im an 100% Armenian and an 100% French"! All 3 photoes are uploaded here by me:) (the second one is from Paris, 1920's). The problem is I cant find any free photo of Aznavour from France (all are copyrighted) and one of them (performing of "La Boheme", "Olympia") was deleted previously. And Armenian ones are easier to use, as we have permissions. If you find any other which have no copyright problems it will be fine! Andranikpasha 12:48, 23 October 2007 (UTC)
 * 81.241.214.170, pls use the talk before the deletion of any info. Andranikpasha (talk) 15:44, 16 February 2008 (UTC)

Does he have Armenian nationality? —Preceding unsigned comment added by 193.132.242.1 (talk) 13:00, 12 November 2008 (UTC)

 * Yes, Charles Aznavour has accepted an honorary Armenian citizenship in December 2008 (at age 85). He remains a French citizen, though. However, his newly acquired dual FRench/Armenian citizenship made it possible for him to accept being appointed as the ambassador of Armenia to Switzerland. This is not such a big surprise. Indeed, the position is mostly honorary rather than intensely political (which he has many times over affirmed being unwilling to commit to). Aznavour spends much of his vacation time away from France, in Switzerland. He is well-known there as well. So, the honorary ambassador position, especially at his age, comes at the perfect time in the perfect location. Lifetime fans of "Azna" like myself are delighted to see that his roots and leaves are coming closer. Vas-y mon p'tit Charles! On est tous avec toi!    —Preceding unsigned comment added by 84.72.92.4 (talk) 04:45, 13 February 2009 (UTC)

 * He was not just a citizen of Armenia, but worked as an Armenian ambassador for more than 20 years. So his Armenian nationality should be included in the article. Aramjan11 (talk) 11:02, 29 August 2023 (UTC)

Christmas in Vienna
i added a great screenshot of Aznavour from the Vienna concert in 1994, hope you guys enjoy it! note: the picture must stay in the location where it is, due to fair use requirements.

Aznavour's Armenian name cant be replaced with an OC. Also he's not only an officier of Canada. Andranikpasha (talk) 16:57, 4 July 2008 (UTC)

Andranik, it has nothing to do with the removal of his Armenian name. On the contrary, his Armenian name should indeed be on there, I agree. However, as the article on the Order of Canada confirms, the post-nominal letters can be used after the inductee's name, regardless of rank within the order or nationality. So do not remove this pertinent information. --OettingerCroat (talk) 12:34, 22 September 2012 (UTC)

Height?
One of Aznavour'a main attributes is described in the introduction as being his shortness of height. Is this appropriate? Shouldn't this opinion be referenced to a reliable source? I do not personally dispute that Azanavour is short. (Nor that he's a giant of an artist!) But I wonder if such subjective assessments can be made by the Wiki contributors themselves, without a reference. -The Gnome (talk) 10:50, 10 July 2010 (UTC)

 * He made a feature of his short stature in his act, so yes it is relevant.Gymnophoria (talk) 10:47, 6 March 2023 (UTC)

Discography
I think the discography section should be moved to new article, as it is too long, and makes this article looks ugly. Vanjagenije (talk) 16:39, 21 July 2010 (UTC)
 * Agree. Merits separate entry as the catalogue of world reknown artist's works; un-clutters root entry page. -The Gnome (talk) 06:48, 23 July 2010 (UTC)

"Karavan Istoriy" as a source
A Georgian IP (better known as Biographyspot, and in the last time as user Aferum) time after time startes to push this Russian journal as a reliable source on Aznavour's descent. This women's journals is not a reliable source, it writes mostly about scandals and never positiones itself as a serious source (see ). It was also criticized and deleted in Russian Wiki. By other side, we have many official biographies (including the cited sources and "Le temps des avants" book) of Aznavour where he mentions that his father was an Armenian from Georgia with roots from Erzeroum, Western Armenia. Gazifikator (talk) 06:48, 7 April 2012 (UTC)

Removal
Gazifikator, please explain why are you reverting my change which is well sourced? Aferum (talk) 11:33, 30 April 2012 (UTC)
 * it is very poorly sourced. see the explanation below. this is a 'yellow' journal with a lot of mistakes in translation like "half-Georgian half-Armenian" in place of "Georgian-Armenian" and "half-Turkish half-Armenian" in place of "Turkish Armenian". A silly translation... And no any Reliable source claims any Georgian or Turkish descent for Aznavour, while many of them (included the cited ones) prove his father Micha Aznavourian (as well as his mother) was an Armenian. Gazifikator (talk) 14:16, 30 April 2012 (UTC)
 * Read the MOS:BIO Gazifikator.

Norum 00:15, 11 June 2012 (UTC)

MOS:BIO
Since he was born in France to Armenian immigrant parents and holds French citizenship and only an honourary Armenian citizenship, this is enough to have him listed as "French" only. Having him listed as French-Armenian is a clear violation of MOS: BIO. Therefore I will revert it to the proper version. MOS: BIO

Context (location, nationality, or ethnicity);

1. In most modern-day cases this will mean the country of which the person is a citizen, national or permanent resident, or if notable mainly for past events, the country where the person was a citizen, national or permanent resident when the person became notable.

2. Ethnicity or sexuality should not generally be emphasized in the opening unless it is relevant to the subject's notability. Similarly, previous nationalities or the country of birth should not be mentioned in the opening sentence unless they are relevant to the subject's notability.

Norum 23:50, 10 June 2012 (UTC)
 * Is Aznavour even a French sitizen. Retyp (talk) 14:58, 11 June 2012 (UTC)
 * Yes, he is. And only an honourary Armenian citizen which doesn't mean much.  Norum 20:03, 11 June 2012 (UTC)
 * He is a full Armenian citizen. Retyp (talk) 20:14, 11 June 2012 (UTC)
 * It says he was given an honourary citizenship. Just like Jim Belushi was given an honourary Albanian citizenship, yet you don't consider him to be an Albanian-American actor.  Norum 20:49, 11 June 2012 (UTC)
 * In Armenia we havent honorary citizenship, it is an error, which means he is a honored person (as well as Vazgen I was honored). "In December 2008, Charles Aznavour was made an official citizen of Armenia by the Armenian head of state, Serge Sarkissian. On 12 February, the singer agreed to become Armenian ambassador to Switzerland." And such citizens shall "have all the rights and obligations of regular Armenian nationals." Retyp (talk) 06:13, 12 June 2012 (UTC)

1. In most modern-day cases this will mean the country of which the person is a citizen, national or permanent resident, or if notable mainly for past events, the country where the person was a citizen, national or permanent resident when the person became notable.

So how is getting an Armenian citizenship significant in this case? Aznavour became an Armenian citizen in 2008 and his first album was released in 1953. He had French citizenship at that point already. He became notable long before he became an Armenian citizen. Therefore, this proves my point. Norum 03:13, 13 June 2012 (UTC)
 * It proves nothing. He is an Armenian Ambassador, isnt it enough notable? Retyp (talk) 13:43, 13 June 2012 (UTC)

Read the MOS:BIO before you start making posts. He was already notable way before gaining Armenian citizenship. You argument is invalid. You lose. Norum 03:07, 14 June 2012 (UTC)
 * This conversation has become quite aggressive. Saying things like "you lose" is not really very helpful - the idea is to improve the article rather than clash with other editors.  As for Aznavour, he is known internationally as a French singer but in France, to say nothing of Armenia, his Armenian origins are a big part of his public profile, because he has campaigned on Armenian causes since 1988.  You are also incorrect to state that his Armenian nationality is "honourary" because there is no such thing.  In fact, Aznavour fulfills functions for the Armenian government: he is their representative in Switzerland and to the Swiss office of the UN.  For these reasons, I think describing him as "French and Armenian" rather than the more ambiguous "Armenian-French" is the most appropriate.  Mezigue (talk) 09:23, 14 June 2012 (UTC)

Trying to explain things to Retyp is like hitting the wall with your head. I agree, it does ned to be forumlated a little differently instead of French-Armenian. Norum 13:25, 14 June 2012 (UTC)

I think it should be put up to a vote to decide how should it be written. Norum 05:37, 15 June 2012 (UTC)

 * Over a decade ago, but seems to be the only in-depth discussion here. Users "Retyp" and "Norum" have since been blocked/banned as sock puppet accounts or other reasons. Personally, I think describing as just "French" or "French" and noting that he was granted Armenian citizenship near the end of his life is the better wording. His birth, death and the country where he first gained notability in were all in France. And his Armenian citizenship was within the last decade of his life. We already have it covered throughout the lede section that he was granted Armenian citizenship and did some work in the country.
 * Furthermore, it seems like only three users (two of which are now banned) participated in this discussion. One suggested "French-Armenian", another "French and Armenian" and another just "French". I do not see an RFC in here and there are no archives of his talk page, so I've reverted it to just "French" until this can be truly settled. Clear Looking Glass (talk) 03:20, 20 March 2023 (UTC)

Sock edit war?
OptimusView makes the same edits and reverts as Retyp/Gazifikator did. Is OV another one of Gazifikator's socks? Antique Rose — Drop me a line  23:45, 15 June 2012 (UTC)
 * It was found to be unlikely: Sockpuppet investigations/Gazifikator/Archive. Brand meister talk   11:14, 16 June 2012 (UTC)

What about the Muppets guest star appearance
Charles Aznavour appeared on the Muppets show, season 1, episode 9. Did not see that listed under film (or TV) credits. January 15, 1977 airdate. I would add it, the muppets roster of guest stars is impressive. — Preceding unsigned comment added by 70.79.67.243 (talk) 06:41, 3 December 2012 (UTC)

Children and Marriages
In 1952 Aznavour had a son, Charles, by his first wife, Micheline. This son is not listed in the article. Is there some reason for this? If not, he should be included.

In addition, Aznavour's children are not listed in the order in which they were born. I think they should be. The birth order is: Séda, Charles, Patrick, Katia, Mischa and Nicholas. I have listed them accordingly.

Aznavour's first and second wives are not named in the article. This seems odd to me because it can be interpreted to imply some unstated reason for the exclusions. I think the full names of all three should be given, or none at all. I vote for including them all, and have done so in an emendation to the text.MarilynConant (talk) 20:36, 29 January 2013 (UTC)

OC OQ
What is the OC OQ doing in the introduction? Should this be deleted? Robert (talk) 16:49, 28 December 2013 (UTC)

Birth name
According to the book The Film Encyclopedia edited by Ephraim Katz and published by HarperCollins says his birth name is "Shahnour Varenagh Aznavourian", see here. This spelling is also used by Transatlantic Passages: Literary and Cultural Relations between Quebec and Francophone Europe, published by the McGill-Queen's University Press, see here. Historian Richard G. Hovannisian as well uses "Varenagh" So does the Encyclopedia of Contemporary French Culture published by Routledge

The Embassy of the Republic of Armenia in Switzerland spells it "Shahnourh Varinag Aznavourian". I don't think this source can be taken seriously versus all other published sources. -- Ե րևանցի talk  05:56, 5 January 2014 (UTC)
 * And the Armenian Encyclopedia uses Vaghenag . The Herald Scotland, The Armenian Weekly , Agos, Anadolu Agency, Panarmenian and many others do the same. As well as historian Rouben Paul Adalian in the Eastern Armenian form of Vaghinak . Why the Official site of an Embassy can not be taken seriously? It is the only official source citing Ambassador's birth name. Or Wiki rules say I'm not right? Lkahd (talk) 06:35, 5 January 2014 (UTC)
 * Most of your sources are newspaper, while my sources are published books. And I just noticed that the embassy site spells it "Shahnourh Varinag Aznavourian", so why are you even using it as a source for "Vaghinag"? -- Ե րևանցի talk  06:43, 5 January 2014 (UTC)
 * You see how dubious your actions were. So it is better to start from the talk. We can ask for a third opinion. Lkahd (talk) 06:59, 5 January 2014 (UTC)
 * That's a pretty reasonable argument to falsify sources. Vaghinag is not in the given source, therefore you need to present reliable sources, not me. If you have any problem with published sources, please refer to the Reliable sources/Noticeboard. -- Ե րևանցի talk  07:13, 5 January 2014 (UTC)
 * Pushing unexplained and unconsensused material in such an incivil manner is not good. And please do not delete Ducretet Thomson as you have no explanation. Please read WP:IDIDNTHEARTHAT, WP:BLPPRIVACY and WP:3RR. Lkahd (talk) 10:50, 5 January 2014 (UTC)
 * Instead of accusing me in "pushing unexplained and unconsensused material", you should first read the sources you add. Have a nice day! -- Ե րևանցի  talk  15:38, 5 January 2014 (UTC)

What makes a man a man
The song "What makes a man a man" is about homosexuality, sung from the perspective of a cabaret drag artist. It's not about transgenderism. The article even quotes Aznavour talking about the song in reference to homosexuality. Gymnophoria (talk) 10:47, 6 March 2023 (UTC)

Archive.is links
According to WP:Archive.is RFC the following links have been automatically removed from the article:
 * 1) http://archive.is/bAtKJ

External links modified
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Son Charles
An unregistered editor removed the (then unreferenced) supposed second child of Charles Aznavour, his son "Charles". I did find references such as Femme Actuelle  or Gala, though the latter comments on how little is known about the son Charles. The editor also linked to a very recent Facebook post by Seda Aznavour stating that "this son 'Charles' whom we've all heard being talked about for a while has never existed. My dear father only had five children. Seda, Patrick, Katia, Mischa and Nicolas. This is for your information as many of his fans are asking me to tell them about 'Charles'." (, my unauthorized translation)

I restored the article for now and added one of the references given above (also the number would have to be changed from "six" to "five").

I can't verify the authenticity of the Facebook post's author nor do I know whether it would suffice as a source anyway, but I do think it's worth looking into, as we certainly don't wish to perpetuate something that isn't factual, even if it's all over the media. ---Sluzzelin talk  13:21, 10 October 2018 (UTC)

 * Many thanks. I see that the article at French wikipedia, fr:Charles Aznevour, also has son Charles and supports with this ref: "magazine Biographie No. 3., décembre 2012, "… il a le bonheur d'être à nouveau père d'un petit garçon, prénommé Charles", article de Lucie Benhamou." Martinevans123 (talk) 15:45, 10 October 2018 (UTC)

 * It's being discussed at fr.wikipedia too: Discussion:Charles Aznavour#Nombre d'enfants. Yet, Myloufa, this edit definitely requires a source. (So, thanks Martinevans123, for adding 'citation needed'). ---Sluzzelin talk  14:48, 13 October 2018 (UTC)
 * Yes, although looking at Yves Salgues it looks like he wrote abut his heroin use himself. Martinevans123 (talk) 14:52, 13 October 2018 (UTC)
 * No doubt he was an addict, but the part of him having "invented" the son named Charles needs sources. And if there is a connection between his addiction and his alleged fabrication, that would require a reference as well. Else, why even mention his addiction here? ---Sluzzelin talk  14:57, 13 October 2018 (UTC)
 * The question would be if we can find good sources to proves that Charles Jr. exists. The only sources we can find are vague and weak. Also, a lot of proofs suggests otherwise; all the pictures of «Charles Jr.» are, in fact, pictures of Patrick, the other son. --Myloufa Discuss ou make Appeal? 22:00, 13 October 2018 (UTC)
 * I didn't know we had any pictures. Martinevans123 (talk) 22:02, 13 October 2018 (UTC)
 * This is a picture of Patrick and his father and this is a picture of Seda, Charles and "Charles Jr." if this is not Patrick on the two pictures, then I don't know who that is. --Myloufa Discuss ou make Appeal? 22:13, 13 October 2018 (UTC)
 * Yes, I'd say that was the same boy. I think we'd also want to see pictures of him as an adult, if he is supposed to have lived to adulthood. Martinevans123 (talk) 22:18, 13 October 2018 (UTC)
 * We still have to find a reliable source discussing the biographer's error, or even just the error. Until then, are there reliable sources listing the five siblings as the complete number of children by name, year of birth, etc., without even mentioning Charles Jr.? ---Sluzzelin talk  00:21, 14 October 2018 (UTC)

title: Talk:Charles Aznavour


text:
List of subcamps of Dachau

Below is the list of subcamps of the Dachau complex of Nazi concentration camps.

• Allach

• Aufkirch

• Augsburg

• Bad Ischl

• Bad Tölz

• Asbach-Bäumenheim

• Bayersoien

• Bayrisch Zell

• Birgsau

• Blaichach

• Bruck

• Burgau/Günzburg

• Dachau

• Eching

• Echterdingen

• Ellwangen

• Emmerting

• Eschelbach

• Feistenau

• Feldafing

• Fischbachau

• Fischen

• Fischhorn, Bruck

• Friedolfing

• Friedrichshafen

• Füssen

• Gablingen

• Garmisch-Partenkirchen

• Germering

• Gmund

• Halfing

• Hallein

• Hausham

• Heidenheim

• Heppenheim

• Horgau

• Innsbruck

• Itter Castle

• Karlsfeld

• Kaufbeuren

• Kaufering

• Kempten

• Königssee

• Kottern

• Landsberg

• Landshut

• Lauingen

• Lind Castle in Neumarkt in Steiermark

• Lochau

• Markt Schwaben

• Mauthausen

• Moschendorf

• Mühldorf

• Mühlheim

• München-Giesing - Agfa Kamerawerke

• München-Schwabing - also known as Schwester Pia

• Neustift

• Nürnberg

• Oberdorf, Bad Hindelang

• Oberföhring

• Ottobrunn

• Passau

• Pfersee

• Plansee

• Pollnhof

• Radolfzell

• Rohrdorf, Bavaria

• Rorgsachwaige

• Rothschwaige

• Salzburg

• Saulgau

• Schlachters-Sigmarszell

• Schleissheim

• Seehausen

• Spitzingsee

• Steinhoering

• Stephanskirchen

• St Gilgen

• St Lambrecht

• St Wolfgang

• Traunstein

• Trostberg

• Türkenfeld

• Türkheim

• Tutzing

• Überlingen-Aufkirch

• Ulm

• Utting

• Valepp

• Vulpmes

• Uttendorf-Weisssee

• Wolfratshausen

• Zangberg

title: List of subcamps of Dachau


text:
A5

A5 and variants may refer to:

Science and mathematics

 * A5 regulatory sequence in biochemistry
 * A5, the abbreviation for the androgen Androstenediol
 * Annexin A5, a human cellular protein
 * ATC code A05 Bile and liver therapy, a subgroup of the Anatomical Therapeutic Chemical Classification System
 * British NVC community A5 (Ceratophyllum demersum community), a British Isles plants community
 * Subfamily A5, a Rhodopsin-like receptors subfamily
 * Noradrenergic cell group A5, a noradrenergic cell group located in the Pons
 * A5 pod, a name given to a group of orcas (Orcinus orca) found off the coast of British Columbia, Canada
 * A5, the strain at fracture of a material as measured with a load test on a cylindrical body of length 5 times its diameter
 * A5, the alternating group on five elements
 * Zeolite A-5, a calcium-type molecular sieve also known as 5A.

Technology

 * Apple A5, the Apple mobile microprocessor
 * ARM Cortex-A5, ARM applications processor

Sport and recreation

 * A5 (classification), an amputee sport classification
 * A5 grade (climbing)
 * A5, an aid climbing gear manufacturer - absorbed by The North Face
 * A05, Réti Opening Encyclopaedia of Chess Openings code
 * A-5, a common shorthand name for the Browning Auto-5 shotgun
 * Gibson A-5 mandolin, a Gibson mandolin
 * Tippmann A-5, a semi-automatic pneumatic marker for playing paintball
 * A5, an Atlanta-based volleyball club

Automobiles

 * Arrows A5, a 1982 British Formula One racing car
 * Audi A5, a 2007–present German compact executive car
 * Chery A5, a 2006–2010 Chinese compact sedan
 * Soueast A5, a 2019–present Chinese compact sedan
 * Sehol A5, a 2019–present Chinese compact sedan, formerly JAC Jiayue A5

Other uses in transportation

 * A5 road, in several countries
 * Hall-Scott A-5, an engine powering the 1916 Standard H-2 aircraft
 * Prussian A 5, a 1913 German railbus
 * Route A5 (WMATA), a bus route operated by the Washington Metropolitan Area Transit Authority
 * Airlinair, by IATA code
 * Bhutan, by aircraft registration code
 * ICON A5, an American amphibious aircraft
 * Pennsylvania Railroad class A5s, an American locomotive
 * Finnish Steam Locomotive Class A5
 * LNER Class A5, a class of 4-6-2T steam locomotives

Aircraft

 * A-5, an export version of Nanchang Q-5, a Chinese-built jet fighter bomber
 * Curtiss Falcon or A-5 Falcon, an attack aircraft manufactured by the Curtiss Aircraft Company
 * Mitsubishi A5M, a 1930s Japanese fighter plane
 * A-5 Vigilante, a carrier-based supersonic bomber designed for the United States Navy
 * Focke-Wulf A 5, a World War I German Focke-Wulf aircraft
 * Sturzkampfgeschwader 1, from its historic Geschwaderkennung code with the Luftwaffe in World War II

Other uses in military

 * USS A-5 (SS-6) or USS Pike (SS-6), a 1903 United States Navy Plunger-class submarine
 * HMS A5, an A-class submarine of the Royal Navy
 * Aggregate 5, a German rocket design, scaled down precursor to the V-2, in World War II
 * A 5, a Swedish regiment designation, see list of Swedish artillery regiments
 * A5, the staff designation for air force headquarters staff concerned with plans or strategy
 * In the United Kingdom, the Joint Force Air Component Headquarters A5 - Air Strategy and GAT branch
 * A5 Juggernaut, an armored fighting vehicle in the Star Wars fictional universe

Other uses

 * A5 paper size, an ISO 216 international standard paper size (148 × 210 mm)
 * A5, the highest grade of Japanese wagyu beef
 * In Town and country planning in the United Kingdom, A5 is the code for permission to use specific land or premises for takeaways

title: A5


text:
Sara Storer

Sara Bettine Storer (born 6 October 1973) is an Australian country music singer-songwriter and former teacher. She won a record breaking seven Golden Guitar awards in the Tamworth Country Music Festival in January 2004, and as of 2017, she has won 21 in total. Three of her six studio albums have reached the top 30 on the ARIA Albums Chart, Firefly (July 2005), Lovegrass (August 2013) and Silos (March 2016). Silos also won Best Country Album at the ARIA Music Awards of 2016. Storer has been a member of a country music trio, Songbirds (2007–09) alongside Beccy Cole and Gina Jeffries. Her older brother, Greg Storer, is also a country music singer-songwriter and the siblings have recorded and performed together.

Early career
Sara Bettine Storer was born in October 1973 in Wemen where her parents, Lindsay and Fay Storer, farmed wheat and cattle on a 5000 acre property. Her three brothers, including Doug and Greg Storer, became farmers, she also has two older sisters. She attended school in nearby, Robinvale.

Storer later recalled, "I wasn't much of a farmer's daughter. Three brothers – they did everything and they enjoyed it. I would rather sit at home and help out with mum really. I was scared of cattle. I always got yelled at cos I was in the wrong spot you know, didn't really know what I was doing. I was never very good." She completed her tertiary studies in Melbourne, becoming a teacher and then headed north in the mid-1990s. Living in Camooweal, she met a retired water buffalo shooter, Harry Chandler, whose stories inspired her to write, "Buffalo Bill", her first song.

Nine months later, Storer moved to Katherine, Northern Territory, where she taught kindergarten level at Casuarina Street Primary School. After a year there she taught at Kalkarindji (466 km southwest of Katherine), for four years. Later she co-wrote and recorded a track, "Children of the Gurindji", with Kev Carmody, for her compilation album, Calling Me Home – The Best of Sara Storer (April 2010).

Carmody told Rhoda Roberts of Deadly Vibe, "[Storer] came up here about 12 months ago and we did a song about the Gurindji kids together. The whole basis of the song was, when she went to teach at Kalkarindji – she taught there for a number of years – she said that she came away with the kids teaching her more than she taught them, and that was the chorus of the song."

When not teaching she started playing at parties across the territory. She won a talent quest at Adelaide River which provided a scholarship to the College of Country Music, held two weeks before the Tamworth Country Music Festival, in January 2000. There she met Garth Porter, former keyboard player with Sherbet, and a record producer of fellow singers, Lee Kernaghan and Gina Jeffreys. Porter worked with Storer to record six tracks which he showcased to ABC Music's owners, who agreed to sign her to their label.

2000–2009
Sara Storer released her debut studio album, Chasing Buffalo, in August 2000 via ABC Music/Universal Music Australia with Porter producing. It peaked in the ARIA Albums Chart top 100, No. 20 on the Australasian Artists, No. 8 on the Hitseekers and No. 6 on the Country albums charts. She won the Best New Talent category at the 2001 Country Music Awards of Australia for her debut single, "Buffalo Bill", in January of that year.

Her second album, Beautiful Circle, was released in November 2002, which was produced by Porter again. In January 2004 at the Country Music Awards of Australia she was nominated for eight Golden Guitars, and won seven of them – a then-record number of trophies at one ceremony: Vocal Collaboration, Single of the Year and Song of the Year all for "Raining on the Plains" (with John Williamson); Female Vocalist of the Year and Album of the Year for Beautiful Circle, Songwriter of the Year for "Raining on the Plains" (co-written with Porter and Greg Storer); Bush Ballad of the Year for "Boss Drovers Pride" and Heritage Song of the Year for "Drover's Call".

The album reached No. 50 on the ARIA Albums Chart in March 2004. It also peaked at No. 11 on the Australasian Artists, No. 1 on the Hitseekers and No. 2 on the Country albums charts. She promoted it by touring with Australian country singer, Troy Cassar-Daley, and United Kingdom singer, Charlie Landsborough, including playing to an audience of over 40,000 people at the Gympie Muster, Queensland. On 6 October 2004 she issued her first DVD, Stories to Tell, which included music videos, interview footage, acoustic performances and new tracks.

Firefly, was Storer's third album, was released in July 2005, which peaked at No. 24 on the ARIA Albums Chart. Porter produced the work and it became her first number-one on the ARIA Country Albums Chart. She co-wrote and recorded duets on three tracks: with Greg ("Chiller's Bend"), Josh Cunningham ("Important Things") and Paul Kelly ("Must've Been a Hell of a Party").

Kelly described Storer, "You know she's paid attention, heard the bush waking up in the morning, listened to the worries thrashed out at the kitchen table, smelt dry summer wheat up close, dreamed of far away places in a bedroom with a window on a big sky, driven miles on dirt and bitumen and fallen in and out of love. She's found her own way to sing the stories that are all around her and then inside her bubbling out. She doesn't copy over-emotive, fake sincere twangy country singers from overseas. She's found her own restraint and steel and lets her songs do their sweet, sly work."

In December 2005 Deborah Conway established the Broad Festival project, "the idea that I would pull these different women performers together from different genres and call it Broad". Storer joined Conway, Katie Noonan, Ruby Hunter and Clare Bowditch where they performed their own and each other's songs on an Australian tour. Conway observed, "Sara you're a gorgeous surprise package, quiet and unassuming offstage; onstage, you had us pissing ourselves every night. I love that simple yet deceptive guitar playing and those haunting songs, which have such a piercing truth to them."

In March 2006 Storer played at the Queens' Lunch during the Melbourne Commonwealth Games. In February and March 2007 she performed a double-headlining tour with fellow country musician, Felicity Urquhart. In November of that year she released her fourth studio album, Silver Skies, which reached the ARIA Albums Chart top 100 and No. 3 on the Country Albums Chart. It was co-produced by Cunningham and Matt Fell for her new label, EMI Records.

Its lead single, "Land Cries Out", was released in September 2007, which Andrew Tijs of Undercover News described, "an achingly beautiful rumination on the bitterness of being forced to leave the land you love – an all too common scenario during the recent drought. With this heartfelt subject matter, Storer has branched away from traditional country sounds... [she] uses electric guitar and drums to complement the lament." From late January to early February 2008 she supported a tour by American singer-songwriter, Suzanne Vega.

From 2007 to 2009 she joined Beccy Cole and Gina Jeffreys to form a country music trio, Songbirds. The group released a live DVD, You've Got a Friend: Live in Concert, on 1 May 2009, which was accredited by ARIA as a gold album by the end of that year. It was recorded at Tamworth in January 2009. It was shown at cinemas from 29 April of that year, Storer opined, "I'm really proud of the Songbirds: You've Got a Friend live filming but am worried how pregnant I will look shown on a big screen."

Storer had encouraged her brother Greg, a cropping farmer from "Strawin" 60 km north-west of Warren, New South Wales, to write music, she has performed his work, including duets with him and she is recorded on his debut single, "When I Was a Boy" (December 2009). He recalled, "Sara started off telling me to write some lyrics and then every now and then she said I should get up and have a sing at one of her shows. It was absolutely terrifying to get up and sing in front of some great artists... [its] a bit addictive. The trick is to never put the guitar away – in between wrestling with the kids or doing something else, I can just pick up the guitar."

2010–2020
In April 2010, Storer released her first compilation album, Calling Me Home – The Best of Sara Storer, which reached No. 28 on the ARIA Albums Chart and No. 1 on the Country Albums Chart. She had recorded three new tracks, "Calling Me Home", "Children of the Gurundi" (with Kev Carmody) and "Tears". At the ARIA Music Awards of 2010 John Williamson was inducted into their Hall of Fame in October, where Storer performed his tune, "Mallee Boy", in his honour.

The singer-songwriter launched her fifth album, Lovegrass, at the Gympie Music Muster in August 2013. She explained her preparation, "I'm getting there early and we're all going to catch up prior to the Muster for a rehearsal, which is a must especially when I'm releasing a new album and playing the songs with the band for the first time, really. We need a little practice run otherwise we could end up a train smash." Lovegrass, which was produced by Matt Fell, peaked at No. 25 on the ARIA Albums Chart and No. 5 on the Country Albums Chart. In 2015 Storer recorded "Song for Grace", a duet with Lee Kernaghan for his album, Spirit of the Anzacs (March 2015).

In March 2016 Storer released her sixth studio album, Silos, also produced by Fell, which peaked at No. 30 on the ARIA Albums Chart and No. 3 on the Country Music Albums Chart. It earned the musician her sixth nomination for ARIA Award for Best Country Album and her first win in the category, at that year's ceremony. At the Country Music Awards of Australia in January 2017 she received her 21st Golden Guitar – the most by any female artist.

In April 2019, Storer released her 7th studio album, Raindance.

2020–present
In January 2023, Sara will feature on the self-titled album by Storer, alongside her brother Greg and Greg's daughters Bonnie & Pip.

Personal life
When Sara Storer was 18, her parents moved from Wemen, Victoria to a farming property near Warren, New South Wales. Storer had lived in Melbourne, moved to Camooweal, North Queensland and then to Katherine and Kalkarindji, Northern Territory in the mid-1990s. By June 2009 Storer was living in Darwin. There she married David O'Hare, a cattle buyer, in April 2012 and the couple have four children. Storer took a break from song writing while focussing on parenting. O'Hare left Austrex in February 2014 after being their cattle export manager in Darwin for ten years.

As of May 2017 the family has a farm near Bowna 33 km from Albury, they also have a home in Albury. In January of that year she acknowledged her family when receiving her Golden Guitars at the Country Music Awards, "Dave has been a great support when I've gotten down about still doing this with four little boys. I have to thank my boys as well, for giving me a little moment every now and then to get a few lines down on paper."

AIR Awards
The Australian Independent Record Awards (commonly known informally as AIR Awards) is an annual awards night to recognise, promote and celebrate the success of Australia's Independent Music sector.

 * 2014
 * Lovegrass
 * Best Independent Country Album
 * Nominated
 * Nominated

ARIA Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. Storer has won one award.

 * 2001 || Chasing Buffalo || Best Country Album || Nominated
 * 2003 || Beautiful Circle ||Best Country Album || Nominated
 * 2005 || Firefly ||Best Country Album || Nominated
 * 2008 || Silver Skies || Best Country Album || Nominated
 * 2013 || Lovegrass || Best Country Album || Nominated
 * 2016 || Silos || Best Country Album || Won
 * 2019 || Raindance || Best Country Album || Nominated
 * 2008 || Silver Skies || Best Country Album || Nominated
 * 2013 || Lovegrass || Best Country Album || Nominated
 * 2016 || Silos || Best Country Album || Won
 * 2019 || Raindance || Best Country Album || Nominated
 * 2016 || Silos || Best Country Album || Won
 * 2019 || Raindance || Best Country Album || Nominated
 * 2019 || Raindance || Best Country Album || Nominated

Country Music Awards (CMAA)
The Country Music Awards of Australia (CMAA) (also known as the Golden Guitar Awards) is an annual awards night held in January during the Tamworth Country Music Festival, celebrating recording excellence in the Australian country music industry. They have been held annually since 1973. Sara Storer has won 22 awards.

 * 2001 || "Buffalo Bill" || New Talent of the Year || Won
 * rowspan="7"| 2004 ||rowspan="2"| Beautiful Circle || Album of the Year || Won
 * Female Vocalist of the Year || Won
 * rowspan="2"| "Raining on the Plains" (duet with John Williamson) || Vocal Collaboration of the Year || Won
 * Single of the Year || Won
 * "Raining on the Plains" (written by Doug Storer, Sara Storer, Garth Porter) || APRA Song of the Year || Won
 * "Drover's Call" || Heritage Song of the Year || Won
 * "Boss Drovers Pride" || Bush Ballad of the Year || Won
 * 2006 || Firefly || Female Vocalist of the Year || Won
 * rowspan="2"| 2008 ||rowspan="2"| "Land Cries Out" (written by Sara Storer) || Heritage Song of the Year || Won
 * APRA Song of the Year || Won
 * 2010 || "When I Was a Boy" (duet with Greg Storer) || Video of the Year || Won
 * 2011 || "Calling Me Home" || Video of the Year || Won
 * 2012 || "Children of the Gurindji" (duet with Kev Carmody) || Video of the Year || Won
 * 2013 || "Women in Song" (trio with Tamara Stewart and Felicity Urquhart) || Vocal Collaboration of the Year || Won
 * rowspan="3"| 2014 ||rowspan="2"| Lovegrass || Album of the Year || Won
 * Female Vocalist of the Year || Won
 * "Pozie" (duet with John Williamson) || Vocal Collaboration of the Year || Won
 * 2015 || "Canoe" || Video Clip of the Year || Won
 * rowspan="2"| 2017 || Silos || Female Artist of the Year || Won
 * "Amazing Night" || Bush Ballad of the Year || Won
 * 2024 || "Dust Kids" (by SToReR) (written by Sara Storer, Greg Storer) || Bush Ballad of the Year || Won
 * 2010 || "When I Was a Boy" (duet with Greg Storer) || Video of the Year || Won
 * 2011 || "Calling Me Home" || Video of the Year || Won
 * 2012 || "Children of the Gurindji" (duet with Kev Carmody) || Video of the Year || Won
 * 2013 || "Women in Song" (trio with Tamara Stewart and Felicity Urquhart) || Vocal Collaboration of the Year || Won
 * rowspan="3"| 2014 ||rowspan="2"| Lovegrass || Album of the Year || Won
 * Female Vocalist of the Year || Won
 * "Pozie" (duet with John Williamson) || Vocal Collaboration of the Year || Won
 * 2015 || "Canoe" || Video Clip of the Year || Won
 * rowspan="2"| 2017 || Silos || Female Artist of the Year || Won
 * "Amazing Night" || Bush Ballad of the Year || Won
 * 2024 || "Dust Kids" (by SToReR) (written by Sara Storer, Greg Storer) || Bush Ballad of the Year || Won
 * Female Vocalist of the Year || Won
 * "Pozie" (duet with John Williamson) || Vocal Collaboration of the Year || Won
 * 2015 || "Canoe" || Video Clip of the Year || Won
 * rowspan="2"| 2017 || Silos || Female Artist of the Year || Won
 * "Amazing Night" || Bush Ballad of the Year || Won
 * 2024 || "Dust Kids" (by SToReR) (written by Sara Storer, Greg Storer) || Bush Ballad of the Year || Won
 * rowspan="2"| 2017 || Silos || Female Artist of the Year || Won
 * "Amazing Night" || Bush Ballad of the Year || Won
 * 2024 || "Dust Kids" (by SToReR) (written by Sara Storer, Greg Storer) || Bush Ballad of the Year || Won
 * 2024 || "Dust Kids" (by SToReR) (written by Sara Storer, Greg Storer) || Bush Ballad of the Year || Won
 * 2024 || "Dust Kids" (by SToReR) (written by Sara Storer, Greg Storer) || Bush Ballad of the Year || Won

title: Sara Storer


text:
List of subcamps of Flossenbürg

The expansion of Flossenbürg concentration camp led to the establishment of subcamps, the first of which was established at Stulln in February 1942 to provide forced labor to a mining company. Many of them were located in the Sudetenland or across the border in the Protectorate of Bohemia and Moravia. The vast majority were established after 1 March 1944. Initially, the subcamps were not involved in armaments production, which changed in the second half of 1944 due to a large influx of available prisoners and the activities of the Jägerstab, which sought to increase German aircraft production. The Jägerstab's dispersal of aircraft production spurred the expansion of the subcamp system in 1944 and resulted in the establishment of the two largest of the subcamps, at Hersbruck and Leitmeritz. In the second half of 1944, 45 new camps were created, compared to three camps in the previous six months. The staffing these new camps was increasingly filled by Luftwaffe soldiers, Volksdeutsche SS men (ethnic Germans from outside the Reich), and SS women, for the subcamps containing female prisoners. By April 1945, 80% of the prisoners were at the subcamps. Of all the concentration camp systems, Flossenbürg's subcamp system was one of the three most important to the economy of Nazi Germany, along with those of Dachau and Mauthausen.

title: List of subcamps of Flossenbürg


text:
BiCMOS

Bipolar CMOS (BiCMOS) is a semiconductor technology that integrates two semiconductor technologies, those of the bipolar junction transistor and the CMOS (complementary metal–oxide–semiconductor) logic gate, into a single integrated circuit. In more recent times the bipolar processes have been extended to include high mobility devices using silicon–germanium junctions.

Bipolar transistors offer high speed, high gain, and low output impedance with relatively high power consumption per device, which are excellent properties for high-frequency analog amplifiers including low noise radio frequency (RF) amplifiers that only use a few active devices, while CMOS technology offers high input impedance and is excellent for constructing large numbers of low-power logic gates. In a BiCMOS process the doping profile and other process features may be tilted to favour either the CMOS or the bipolar devices. For example GlobalFoundries offer a basic 180 nm BiCMOS7WL process and several other BiCMOS processes optimized in various ways. These processes also include steps for the deposition of precision resistors, and high Q RF inductors and capacitors on-chip, which are not needed in a "pure" CMOS logic design. BiCMOS is aimed at mixed-signal ICs, such as ADCs and complete software radio systems on a chip that need amplifiers, analog power management circuits, and logic gates on chip. BiCMOS has some advantages in providing digital interfaces. BiCMOS circuits use the characteristics of each type of transistor most appropriately. Generally this means that high current circuits such as on chip power regulators use metal–oxide–semiconductor field-effect transistors (MOSFETs) for efficient control, and 'sea of logic' use conventional CMOS structures, while those portions of specialized very high performance circuits such as ECL dividers and LNAs use bipolar devices. Examples include RF oscillators, bandgap-based references and low-noise circuits.

The Pentium, Pentium Pro, and SuperSPARC microprocessors also use BiCMOS.

Disadvantages
Some of the advantages of CMOS fabrication, for example very low cost in mass production, do not transfer directly to BiCMOS fabrication. An inherent difficulty arises from the fact that optimizing both the BJT and MOS components of the process is impossible without adding many extra fabrication steps and consequently increased process cost and reduced yield. Finally, in the area of high performance logic, BiCMOS may never offer as low a power consumption as a foundry process optimized for CMOS alone, due to the potential for higher standby leakage current.

title: BiCMOS


text:
Fourrée

A fourrée is a coin, most often a counterfeit, that is made from a base metal core that has been plated with a precious metal to look like its solid metal counterpart; the term is derived from the French for "stuffed". The term is normally applied to ancient silver-plated coins such as the Roman denarius and Greek drachma, but the term is also applied to other plated coins.

Cicero mentions that M. Marius Gratidianus, a praetor during the 80s BC, was widely praised for developing tests to detect false coins, and removing them from circulation. Gratidianus was killed under Sulla, who introduced his own anti-forgery law (lex Cornelia de falsis), that reintroduced serrated edges on precious metal coins, an anticounterfeiting measure that had been tried earlier.

Serrated denarii, or serrati, which featured about 20 notched chisel marks on the edge of the coin, were produced to demonstrate the integrity of the coin. This effort was in vain, as examples of fourrée serrati attest.

Production
Production of fourrées began almost as early as the production of the first coins in Asia Minor in the 7th century BC. These coins were produced by people wishing to profit by producing a counterfeit containing less precious metal content than its purported face value. The most common method for producing a fourrée was to take a flan of copper, wrap it with silver foil, heat it, and strike it with the dies. If the coin was sufficiently heated and struck hard enough, a layer of eutectic alloy (a mixture of 72% silver and 28% copper that has the lowest melting point of any mixture of these two metals) would be produced, fusing the layers together. Sometimes eutectic was sprinkled between the layers to increase the bond. Exposure of the deception was often due to wear at the high points of the coin, or moisture trapped between the layers that caused the foil to bubble and then break as the core corroded.

A later method for making fourrées involved adding silver to the base metal coin after it had been struck. This method allowed even less silver to be used, which became more important in order to make counterfeiting profitable as the official coinage was debased. The exact method by which these coins were silvered is unclear, although possible methods include dipping the coin in molten silver, brushing the coins with molten silver, or dusting the coin with powdered silver and heating it until the silver melted.

In peripheral regions, even cruder counterfeits might pass: in the Viking-age site in Coppergate, in York, a forgery of an Arab dirham was found, struck as if for Isma'il ibn Achmad (ruling at Samarkand, 903-07/8), of copper covered by a once-silvery wash of tin.

Detection
The easiest way to spot a fourrée is by weight, since a fourrée with a copper core would weigh noticeably less than a solid silver coin due to the lower density of copper. The opposite would be true for a fourrée with a lead core.

Another method to determine whether a coin was plated was listening to the sound produced by dropping the coin onto a hard surface since if the coin was solid silver it would have a distinctive ring. Although this was done by contemporary merchants, it is not recommended that this method be used on ancient coin since the coin could be damaged, especially since over time silver coins can become brittle, if the silver begins to recrystallize.

The most obvious way to detect a plated coin would be if the base metal core was damaged or worn, revealing the base metal. There are often chisel or chop marks on ancient silver coins by merchants attempting to determine if a coin was solid. These "banker marks" are most common on Roman denarii of the 1st century BC and 1st century AD.

During the Crisis of the Third Century, constant wars required a lot of coins to be produced, leading to heavy debasing of precious metal coinage. The antoninianus was eventually debased to the point where flans (blank metal disks) were produced with 5% silver or less, and pickled to dissolve the copper from the surface producing a spongy surface of almost pure silver. When these coins struck, the force of striking would produce a thin shiny layer of silver on the surface, which would quickly wear away. These "silvered" coins are not considered fourrées, since they are not actually plated since the metal is actually a continuous layer and these coins were not created to deceive.

Modern examples
Of modern coins, the clad US quarter dollar is an example of a coin which is not a fourrée, it is made of two layers of copper nickel, with copper sandwich in between and therefore is not a plated coin. The 1982 and later US one cent piece (Lincoln penny) is an example of a fourrée since it is zinc which has been plated with copper.

The Euro 1, 2 and 5-cent coins are copper-coated steel fourrées.

Fourrée is also spelt with and without the accent (é), with one or two r's, and with one or two e's. The Latin term for a silver-plated copper coin is subaeratus and the Greek name is hypochalkos, both meaning "copper below".

title: Fourrée


text:
List of subcamps of Gross-Rosen

Below is the list of subcamps of Gross-Rosen concentration camp, a complex of Nazi concentration camps built and operated by Nazi Germany during World War II. The camps are arranged alphabetically by their Nazi German designation. For the list of present-day locations in alphabetical order, please use table-sort buttons.

The majority of prisoners came from occupied Poland (up to 90% in some subcamps) both Christian and Jewish (usually separated). Most, were put to work as slave labour in textile, armament, mining and defence construction industries. Other nationalities included Czechs, Slovaks, Roma, Belgians, Frenchmen, Russians, Yugoslavs, Hungarians and even ethnically German and Italian inmates. Thousands were brought in from Auschwitz after the selection to work for a network of German companies which ballooned in size during this period; with dozens of subcontractors. The inmates of Dyhernfurth for example, were utilized by almost thirty Nazi German startups.

Notes and references
Groß-Rosen

title: List of subcamps of Gross-Rosen