Some context: Amilcar Lopes da Costa Cabral (Portuguese: [a'milkar 'lopiS ka'bral]; (1924-09-12)12 September 1924 - (1973-01-20)20 January 1973) was a Bissau-Guinean and Cape Verdean agricultural engineer, intellectual, poet, theoretician, revolutionary, political organizer, nationalist and diplomat. He was one of Africa's foremost anti-colonial leaders.
In 1972, Cabral began to form a People's Assembly in preparation for the independence of Guinea-Bissau, but disgruntled former PAIGC rival Inocencio Kani, together with another member of PAIGC, shot and killed him on the 20th January 1973 in Conakry, Guinea. The possible plan was to arrest Cabral (possibly to judge him summarily, later), but facing the peaceful resistance of Cabral, they immediately killed him. According to some theories, Portuguese PIDE agents, whose alleged plan eventually went awry, wanted to influence Cabral's rivals through agents operating within the PAIGC, in hope of arresting Cabral and placing him under the custody of Portuguese authorities. Another theory claims that Ahmed Sekou Toure, jealous of Cabral's greater international prestige, among other motives, orchestrated the conspiracy; both theories remain unproven and controversial. After the assassination, About one hundred officers and guerrilla soldiers of the PAIGC, accused of involvement in the conspiracy that resulted in the murder of Amilcar Cabral and the attempt to seize power in the movement, were summarily executed. His half-brother, Luis Cabral, became the leader of the Guinea-Bissau branch of the party and would eventually become President of Guinea-Bissau. A declassified United States Department of State brief notes that the motives of his assassination are unclear but may have linked to "a feud between mulattos from the [sic] Cape Verde islands and mainland Africans." Cabral was assassinated prior to the independence of the Portuguese colonies in Africa, and therefore died before he could see his homelands of Cabo Verde and Guinea Bissau gain independence from Portugal.
Was it premeditated?
A: The possible plan was to arrest Cabral (possibly to judge him summarily, later), but facing the peaceful resistance of Cabral, they immediately killed him.
Some context: Weather Report was an American jazz fusion band of the 1970s and early 1980s. The band was initially co-led by the Austrian-born keyboard player Joe Zawinul, the American saxophonist Wayne Shorter and Czech bassist Miroslav Vitous. Due to creative and financial disagreements, Vitous left the band after a few years. Zawinul took increasing control and steered the band towards a more funk, R&B oriented sound.
Joe Zawinul and Wayne Shorter had first met and become friends in 1959 while they were playing in Maynard Ferguson's Big Band. Zawinul went on to play with Cannonball Adderley's group in the 1960s, while Shorter joined Art Blakey's Jazz Messengers and then, in 1964, Miles Davis' second great quintet. During this decade, both men made names for themselves as being among the best composers in jazz. Zawinul later joined Shorter in contributing to the initial fusion music recordings of Miles Davis, and both men were part of the studio groups, which recorded the key Davis albums In a Silent Way (1969) and Bitches Brew (1970). In consequence, Weather Report has often been seen as a spin-off from the Miles Davis bands of the late 1960s and early 1970s, although Zawinul was never part of Davis's touring line-up. Weather Report was initially formed to explore a more impressionistic and individualistic music (or, as Zawinul put it, "away from all that eight bars shit and then you go to the bridge...") Zawinul and Shorter recruited another Miles Davis associate, the classically trained Czech-born bass player Miroslav Vitous, who had previously played with Zawinul, as well as with Herbie Mann, Bob Brookmeyer, Stan Getz, and Chick Corea (Vitous has subsequently claimed that in fact Shorter and he had founded Weather Report, with Shorter bringing in Zawinul afterwards.) All three men composed, and formed the core of the project. To complete the band, the trio brought in former McCoy Tyner drummer Alphonse Mouzon and set about looking for a full-time auxiliary percussionist as they began to record their debut album. The initial recruits were session player Don Alias and symphony orchestra percussionist Barbara Burton. During recording, Alias quarreled with Zawinul (allegedly due to Zawinul being too dictatorial over the percussion approach) and the innovative Brazilian percussionist Airto Moreira (yet another Davis alumnus) was brought in to complete the record. John McLaughlin was also invited to join the group, but decided to pursue his solo career, instead.
was anyone else in it?
A: Brookmeyer,
Some context: Chester Burton "Chet" Atkins (June 20, 1924 - June 30, 2001), known as "Mr. Guitar" and "The Country Gentleman", was an American musician, occasional vocalist, songwriter, and record producer, who along with Owen Bradley and Bob Ferguson, among others, created the country music style that came to be known as the Nashville sound, which expanded country music's appeal to adult pop music fans. He was primarily known as a guitarist. He also played the mandolin, fiddle, banjo, and ukulele. Atkins's signature picking style was inspired by Merle Travis.
While working with a Western band in Denver, Colorado, Atkins came to the attention of RCA Victor. Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down in Denver. He made his first RCA Victor recordings in Chicago in 1947. They did not sell, but he did some studio work for RCA that year but had relocated to Knoxville again, where he worked with Homer and Jethro on WNOX's new Saturday night radio show The Tennessee Barn Dance and the popular Midday Merry Go Round. In 1949, he left WNOX to join June Carter with Mother Maybelle and the Carter Sisters on KWTO. This incarnation of the old Carter Family featured Maybelle Carter and daughters June, Helen, and Anita. Their work soon attracted attention from the Grand Ole Opry. The group relocated to Nashville in the mid-1950s. Atkins began working on recording sessions and performing on WSM-AM and the Opry. Atkins became a member of the Opry in the 1950s. While he had not yet had a hit record for RCA Victor, his stature was growing. He began assisting Sholes as a session leader when the New York-based producer needed help organizing Nashville sessions for RCA Victor artists. Atkins's first hit single was "Mr. Sandman", followed by "Silver Bell", which he recorded as a duet with Hank Snow. His albums also became more popular. He was featured on ABC-TV's The Eddy Arnold Show in the summer of 1956 and on Country Music Jubilee in 1957 and 1958 (by then renamed Jubilee USA). In addition to recording, Atkins was a design consultant for Gretsch, which manufactured a popular Chet Atkins line of electric guitars from 1955-1980. He became manager of RCA Victor's Nashville studio, eventually inspiring and seeing the completion of the legendary RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row.
Did Sholes later show appreciation or help him back?
A:
His albums also became more popular.