IN: Charlton is related to several professional footballers on his mother's side of the family: his uncles were Jack Milburn (Leeds United and Bradford City), George Milburn (Leeds United and Chesterfield), Jim Milburn (Leeds United and Bradford City) and Stan Milburn (Chesterfield, Leicester City and Rochdale), and legendary Newcastle United and England footballer Jackie Milburn, was his mother's cousin. However, Charlton credits much of the early development of his career to his grandfather Tanner and his mother Cissie. His elder brother, Jack, initially worked as a miner before applying to the police, only to also become a professional footballer with Leeds United. His other brother, Tommy, plays walking football for the Mature Millers club in Rotherham.

He played in qualifiers for the 1962 World Cup in Chile against Luxembourg and Portugal and was named in the squad for the finals themselves. His goal in the 3-1 group win over Argentina was his 25th for England in just 38 appearances, and he was still only 24 years old, but his individual success could not be replicated by that of the team, which was eliminated in the quarter final by Brazil, who went on to win the tournament.  By now, England were coached by Alf Ramsey who had managed to gain sole control of the recruitment and team selection procedure from the committee-based call-up system which had lasted up to the previous World Cup. Ramsey had already cleared out some of the older players who had been reliant on the loyalty of the committee for their continued selection - it was well known that decorum on the pitch at club level had been just as big a factor in playing for England as ability and form. Luckily for Charlton, he had all three. A hat-trick in the 8-1 rout of Switzerland in June 1963 took Charlton's England goal tally to 30, equalling the record jointly held by Tom Finney and Nat Lofthouse and Charlton's 31st goal against Wales in October the same year gave him the record alone.  Charlton's role was developing from traditional inside-forward to what today would be termed an attacking midfield player, with Ramsey planning to build the team for the 1966 World Cup around him. When England beat the USA 10-0 in a friendly on 27 May 1964, he scored one goal, his 33rd at senior level for England.  His goals became a little less frequent, and indeed Jimmy Greaves, playing purely as a striker, would overtake Charlton's England tally in October 1964. Nevertheless, he was still scoring and creating freely and as the tournament was about to start, he was expected to become one of its stars and galvanise his established reputation as one of the world's best footballers.

did he win any awards?

OUT: his established reputation as one of the world's best footballers.


IN: Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".

Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.

Did he get any awards when he was in his early stage?

OUT: