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Stephen Ray Vaughan (October 3, 1954 - August 27, 1990) was an American musician, singer, songwriter, and record producer. In spite of a short-lived mainstream career spanning seven years, he was one of the most influential guitarists in the revival of blues in the 1980s. AllMusic describes him as "a rocking powerhouse of a guitarist who gave blues a burst of momentum in the '80s, with influence still felt long after his tragic death." Born and raised in Dallas, Texas, Vaughan began playing guitar at the age of seven, inspired by his older brother Jimmie.
In May 1969, after leaving the Brooklyn Underground, Vaughan joined a band called the Southern Distributor. He had learned The Yardbirds' "Jeff's Boogie" and played the song at the audition. Mike Steinbach, the group's drummer, commented: "The kid was fourteen. We auditioned him on 'Jeff's Boogie,' really fast instrumental guitar, and he played it note for note." Although they played pop rock covers, Vaughan conveyed his interest in the addition of blues songs to the group's repertoire; he was told that he wouldn't earn a living playing blues music and the band parted ways. Later that year, bassist Tommy Shannon walked into a Dallas club and heard Vaughan playing guitar. Fascinated by the skillful playing, which he described as "incredible even then", Shannon borrowed a bass guitar and the two jammed. Within a few years, they began performing together in a band called Krackerjack. In February 1970, Vaughan joined a band called Liberation, which was a nine-piece group with a horn section. Having spent the past month briefly playing bass with Jimmie in Texas Storm, he had originally auditioned as bassist. Impressed by Vaughan's guitar playing, Scott Phares, the group's original guitarist, modestly became the bassist. In mid-1970, they performed at the Adolphus Hotel in downtown Dallas, where ZZ Top asked them to perform. During Liberation's break, Vaughan jammed with ZZ Top on the Nightcaps song "Thunderbird". Phares later described the performance: "They tore the house down. It was awesome. It was one of those magical evenings. Stevie fit in like a glove on a hand." Attending Justin F. Kimball High School during the early 1970s, Vaughan's late-night gigs contributed to his neglect in his studies, including music theory; he would often sleep during class. His musical career pursuit was disapproved by many of the school's administrators, but he was also encouraged by many people to strive for a career in art, including his art teacher. In his sophomore year, he attended an evening class for experimental art at Southern Methodist University, but bailed when it conflicted with rehearsal. Vaughan later spoke of his dislike of the school and stated that he had to receive a daily note from the principal about his grooming.

What was his first album?

1970s,

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Javier Pedro Saviola Fernandez (Spanish pronunciation: [xa'bjer 'pedro sa'bjola fer'nandes]; born 11 December 1981) is a retired Argentine professional footballer who played as a forward. Known for his speed, dribbling and ability to score from almost any attacking position on the field, he represented both Barcelona and Real Madrid and was named as the youngest player on Pele's FIFA 100 list of the 125 greatest living footballers in 2004. Due to his ancestry he also holds Spanish nationality since 2004, and he amassed La Liga totals of 196 games and 70 goals over the course of eight seasons; he started and finished his career at River Plate. An Argentine international for seven years, Saviola represented his country at the 2006 World Cup and the 2004 Copa America, where his team reached the final.
In 2001, aged 19, Saviola moved abroad to play for FC Barcelona in a PS15 million transfer. He obtained Spanish citizenship shortly after, thereby not being restricted by the Spanish league maximum on the number of non-European Union citizens allowed in each club. Under coach Carles Rexach, he scored 17 goals in his first season, finishing joint-fourth top scorer in La Liga. Saviola's second year at the club did not start well, as he only scored two goals in the first half of the season. When Van Gaal was fired and Radomir Antic became the new Barcelona manager, he went on to net 11 goals in the latter half of the campaign; at the start of the following season Frank Rijkaard was appointed as new manager, and the player scored 14 times in the league alone, but was deemed surplus at the club as longtime offensive partner Patrick Kluivert. Saviola was sent on loan in the summer of 2004, moving to AS Monaco FC in Ligue 1. As he did not fit into Rijkaard's plans he was again loaned out the following year, this time to Spanish club Sevilla FC, in order to replace Real Madrid-bound Julio Baptista; with his new club he won his first title in Europe, conquering the UEFA Cup -- he also scored nine times in the league, good enough for fifth. Saviola returned to Barcelona for the 2006-07 season, playing in 18 league games, six as a starter, and netting five goals. He benefited greatly from injuries to teammates, most notably to Samuel Eto'o, and added five in as many matches in that season's Copa del Rey, notably a hat-trick against Deportivo Alaves (3-2 win at home, 5-2 aggregate).

Did they win any matches ?

3-2 win at home, 5-2 aggregate).

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Matthew Paris, known as Matthew of Paris (Latin: Matthaeus Parisiensis, lit. "Matthew the Parisian"; c. 1200 - 1259), was a Benedictine monk, English chronicler, artist in illuminated manuscripts and cartographer, based at St Albans Abbey in Hertfordshire. He wrote a number of works, mostly historical, which he scribed and illuminated himself, typically in drawings partly coloured with watercolour washes, sometimes called "tinted drawings". Some were written in Latin, some in Anglo-Norman or French verse.
From 1235, the point at which Wendover dropped his pen, Paris continued the history on the plan which his predecessors had followed. He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events. Among his informants were Richard, Earl of Cornwall and King Henry III, with whom he appears to have been on intimate terms. The king knew that Paris was writing a history, and wanted it to be as exact as possible. In 1257, in the course of a week's visit to St Albans, Henry kept the chronicler beside him night and day, "and guided my pen," says Paris, "with much goodwill and diligence." It is curious that the Chronica majora gives so unfavourable an account of the king's policy. Henry Richards Luard supposes that Paris never intended his work to be read in its present form. Many passages of the autograph have written next to them, the note offendiculum, which shows that the writer understood the danger which he ran. On the other hand, unexpurgated copies were made in Paris's lifetime. Although the offending passages are duly omitted or softened in his abridgment of his longer work, the Historia Anglorum (written about 1253), Paris's real feelings must have been an open secret. There is no ground for the old theory that he was an official historiographer. Naturalists have praised his descriptions of the English wildlife of his time, brief though they are: in particular his valuable description of the first irruption into England in 1254 of the common crossbill.

What was the plan?
He derived much of his information from the letters of important people, which he sometimes inserts, but much more from conversation with the eyewitnesses of events.