title: Larry Hogan

text: Hogan renewed the state's coronavirus state of emergency declaration on October 31 and its state travel advisories on November 5, 2020, after a sudden increase in COVID-19 cases across the state. He also reintroduced capacity restrictions in public spaces and buildings in order to reduce the virus's spread. As Maryland reached 200,000 confirmed COVID-19 cases, Hogan activated the Maryland Medical Reserve Corps and allowed medical and nursing students to help staff the state's testing and vaccination sites. He later implemented new gathering and travel restrictions as cases continued to soar.


title: Larry Hogan

text: On December 8, 2020, Hogan announced that Maryland would receive its first batch of COVID-19 vaccines by December 14 and laid out a four-phase plan for who would receive the first doses. His administration opened mass vaccination sites across the state, starting with Six Flags America and the Baltimore Convention Center in February 2021. Hogan opened 12 mass vaccination sites by the end of April 2021 and worked with the Federal Emergency Management Agency to deploy the first federal mobile COVID-19 vaccination sites on the Eastern Shore of Maryland. In February 2021, Hogan signed into law a bill providing tax relief for families and businesses struggling with the pandemic and distributing direct payments of $500 to families and $300 to low-income individuals.


title: Larry Hogan

text: Hogan signed an executive order lifting the state's restrictions on restaurants, retail businesses, religious facilities, casinos, and social gatherings on March 12, 2021, but kept social distancing and mask mandate requirements in place. A few weeks later, he announced plans to initiate the start of the final phases of Maryland's vaccine distribution plan, with the second stage starting on March 30 and the third stage on April 27, 2021. Hogan signed an executive order lifting the outdoor mask mandate and dining restrictions on April 28, 2021, and lifted all remaining COVID-19 related restrictions on May 15. On June 15, he announced that he would not renew the state's coronavirus emergency declaration when it expired on July 1. He later signed a proclamation keeping the conditions of the emergency declaration in place through August 15, 2021.


title: Larry Hogan

text: On June 1, 2021, Hogan announced that on July 3 he would join two dozen other Republican governors in ending the $300 supplemental weekly unemployment insurance provided by the American Rescue Plan Act of 2021. A judge temporarily halted the Hogan administration's plans to end unemployment benefits early before eventually blocking the decision altogether. The Maryland Court of Appeals dismissed Hogan's appeal of the ruling, and Circuit Court Judge Lawrence Fletcher-Hill issued a preliminary injunction blocking the Hogan administration from terminating federal unemployment assistance.


title: Larry Hogan

text: In August 2021, Hogan issued a vaccine mandate requiring all hospital and nursing home workers to get a COVID-19 vaccine by September 1, 2021, or receive weekly testing.


title: Larry Hogan

text: In September 2021, Hogan authorized COVID-19 booster shots for nursing home residents and immunocompromised residents. In November 2021, booster shot eligibility was expanded to all Maryland adults.


title: Larry Hogan

text: As governor, Hogan voiced support for expanding charter schools in the state by loosening the state's charter school laws. In February 2015, he announced proposed regulatory changes to the state's charter law, including provisions that would give charter schools more authority over hiring and firing practices and setting admissions criteria, and increasing access to public funding. The Maryland legislature approved and passed a watered-down version of Hogan's proposals, which was signed into law on May 12, 2015. During the 2016 legislative session, Hogan and the Maryland General Assembly agreed to create a state-funded private-school scholarship program to provide assistance to students from low-income families that attend charter schools. In December 2016, Hogan proposed doubling funding for the state program. In 2017, he again proposed changes to the state's charter laws, which was met with pushback from legislative leaders and teacher unions.


title: Larry Hogan

text: In 2013, a bipartisan commission studied whether to move the start of the school year after Labor Day and voted 12–3 to recommend such a measure to then Governor Martin O'Malley. In August 2016, Hogan issued an executive order to set the public schools start date after Labor Day. The measure was opposed by the state teachers' union, the Maryland State Education Association (MSEA).


title: Larry Hogan

text: In early 2017, Hogan proposed a budget that cut funding for community revitalization programs, extended library hours, and public schools in Baltimore City. Under the proposed budget, Baltimore City Public Schools would receive $42 million less than the prior year, further exacerbating the $129 million budget gap. In February 2017, in response to the funding crisis, citizens rallied in Annapolis. Hogan has criticized the school system for the mismanagement of funds, and has deemed the system's finances an "absolute disaster". In January 2019, he released a budget that focused mostly on education funding, above what current state formulas require.


title: Larry Hogan

text: In May 2018, Hogan signed a bill appropriating $15 million in need-based scholarships for low- and middle-income students, allowing them to attend community college tuition-free, and appropriating an additional $2 million over a five-year period for older "near-completer" college students who are close to earning degrees at community colleges or four-year colleges.


title: Larry Hogan

text: In February 2015, Hogan announced proposed regulatory changes on phosphorus nutrient pollution in the Chesapeake Bay and the Eastern Shore of Maryland. The water was being polluted as a result of agricultural runoff of chicken manure, which farmers use as fertilizer and is cheap and plentiful in Maryland. Hogan proposed extending the time for about 80% of farmers to fully comply with regulations to 2022, while at the same time imposing a ban on additional phosphorus use by the largest farmers and providing for indefinite delays if there was no other use for the manure. In March 2015, Hogan reached a compromise with Democrats in the General Assembly under which a hard date of 2022 was established, subject to a delay to 2024 if no alternative uses for the manure can be found. The compromise "received tentative praise from both the agricultural community and environmentalists."


title: Larry Hogan

text: In 2016, Hogan signed legislation to reauthorize greenhouse gas reduction targets and mandate a 40% reduction in statewide carbon pollution by 2030. In 2017, Hogan vetoed legislation passed by the Maryland General Assembly to increase the use of renewable energy by setting a renewable portfolio standard to require that 25% of the state's electricity come from renewable sources (such as solar, wind, and hydroelectricity) by 2020. Hogan and the Maryland Republican Party led an unsuccessful campaign to sustain the veto, but the Democratic-controlled General Assembly overrode it on party lines. In April 2022, Hogan refused to veto or sign a bill that accelerated these efforts, allowing the bill to become law without his signature.


title: Larry Hogan

text: In April 2017, Hogan signed a law banning hydraulic fracturing in Maryland. But he supported pipelines in Maryland that transport natural gas obtained by hydraulic fracturing in other states, including the Eastern Shore Pipeline. In June 2017, Hogan maintained support for the Paris Agreement and opposed the United States withdrawal from the Paris Agreement. In January 2018, he said Maryland would join the United States Climate Alliance formed by California, New York, and Washington. In 2016, Hogan vetoed the Baltimore Red Line light rail project, which had been awarded federal money, and shifted these funds into road construction. With transportation responsible for 30% of U.S. emissions, Hogan has not articulated a vision of how the U.S. could achieve the Paris Agreement's goals without changes in transportation investments. Critics have said that his funding of roads is reflective of his business interests or racial politics rather than his position on environmental regulation.


title: Larry Hogan

text: In November 2021, the Maryland League of Conservation Voters deemed Hogan's environmental leadership inconsistent in its annual legislative scorecard.


title: Larry Hogan

text: In October 2018, a law tightening gun control regulations that Hogan signed went into effect. The law banned bump stocks and gun ownership by convicted domestic abusers. Hogan was endorsed by the National Rifle Association (NRA) in 2014, but in July 2018, he said he would decline an endorsement and funds from the NRA if they were offered. In September 2018, the NRA downgraded its rating of Hogan to "C" and declined to endorse him.


title: Larry Hogan

text: On May 24, 2019, Hogan vetoed a bill to replace the state Handgun Permit Review Board with a panel of judges. The Handgun Review Board hears appeals from Marylanders whose applications for handgun permits were denied by the Maryland State Police. Critics accused it of being too lenient in granting appeals. Hogan condemned the bill as a "solution in search of a problem."


title: Larry Hogan

text: In April 2022, Hogan refused to veto or sign a bill that would ban the sale and possession of ghost guns, allowing the bill to become law without his signature. He vetoed legislation that would require gun shops to have increased safety measures, including 24-hour burglary alarm systems and anti-vehicle barriers. The General Assembly overrode Hogan's veto the next day.


title: Larry Hogan

text: In July 2022, Hogan directed the Maryland State Police to end the "good and substantial" reasoning standard when issuing carry permits. The order was issued a few weeks after the U.S. Supreme Court declared a similar provision in New York unconstitutional in "NYSRPA v. Bruen".


title: Larry Hogan

text: After the November 2015 Paris attacks, Hogan asked that the federal government "cease any additional settlement programs of Syrian refugees in Maryland until the U.S. government can provide appropriate assurances that refugees from Syria pose no threat to public safety." He opposed President Donald Trump's decision to end the Deferred Action for Childhood Arrivals (DACA) program. He recalled Maryland National Guard forces from the U.S.–Mexico border to protest the Trump administration family separation policy.


title: Larry Hogan

text: In May 2021, Hogan vetoed a bill passed by the General Assembly that would require counties that have contracts with Immigration and Customs Enforcement to end their contracts by October 1, 2022. The General Assembly overrode the veto during its 2021 special session.


title: Larry Hogan

text: In August 2021, Hogan announced that Maryland would be "ready and willing" to accept additional Afghan refugees. The state took in 1,348 Afghan refugees amid the evacuation.


title: Larry Hogan

text: Hogan is pro-Israel. In October 2017, Hogan signed an executive order requiring firms that have state contracts to promise they will not boycott Israel. In January 2019, the Council on American-Islamic Relations sued Hogan and Attorney General Brian Frosh on behalf of Saqib Ali, a former member of the House of Delegates, challenging the executive order under the First and Fourteenth Amendments to the United States Constitution. In October 2020, U.S. District Judge Catherine Blake refused to block the executive order.


title: Larry Hogan

text: The April 2015 death of Freddie Gray, a 25-year-old African American man, in Baltimore Police Department custody led to a wave of protests. After violent clashes broke out, Hogan declared a state of emergency and activated the Maryland National Guard. Several thousand National Guard troops, Maryland State Police troopers, and others were eventually deployed in Baltimore to quell violence.


title: Larry Hogan

text: In July 2015, Hogan announced the closure of the decrepit Baltimore City Detention Center, which had a long record of poor conditions and dysfunction. He did not notify Baltimore City mayor Stephanie Rawlings-Blake or leaders of the state general assembly of the plan. Civil liberties and reform groups such as the American Civil Liberties Union, Public Justice Center, and Justice Policy Institute supported Hogan's move. The last prisoners were moved out of the jail in late August 2015.


title: Larry Hogan

text: In 2016, Hogan reopened the Maryland State Police Barrack in Annapolis, which had closed in 2008 as a cost-saving measure.


title: Larry Hogan

text: In September 2019, Hogan directed Attorney General Brian Frosh to prosecute more violent crime cases in Baltimore City. He said that the city's justice system was too lenient, citing an example of someone who had a pending murder charge but was set free. Marilyn Mosby, the State's Attorney for Baltimore, disputed Hogan's characterization of the city's justice system. Hogan authorized state police helicopters to fly over Baltimore City and ordered an increase in the enforcement of outstanding warrants.


title: Larry Hogan

text: Hogan vetoed legislation passed by the Maryland General Assembly in 2015 to restore the voting rights of persons convicted of felonies following their completion of prison sentences. The General Assembly overrode the veto. The law applies to about 44,000 former prisoners.


title: Larry Hogan

text: In 2021, Hogan vetoed bills that would "raise the bar for officers to use force; give civilians a role in police discipline for the first time; restrict no-knock warrants; mandate body cameras; and open some allegations of police wrongdoing for public review." The Maryland legislature overrode his vetoes.


title: Larry Hogan

text: In April 2021, Hogan vetoed a bill to abolish life without parole sentences for juvenile offenders. The legislature overrode the veto.


title: Larry Hogan

text: In May 2021, Hogan granted posthumous pardons to 34 victims of racial lynchings in Maryland between the years 1854 and 1933.


title: Larry Hogan

text: In late May 2021, Hogan vetoed a bill that would remove the governor from parole decisions made by the Maryland Parole Commission. The General Assembly overrode his veto during its 2021 special session.


title: Larry Hogan

text: In October 2021, Hogan proposed a $150 million "Re-Fund the Police" initiative aimed at increasing support for the state's law enforcement agencies and victims of violent crime. The Maryland General Assembly approved a state budget containing the initiative with an amendment that would allocate funding in proportion to the number of violent crimes reported in local jurisdictions.


title: Larry Hogan

text: In November 2021, citing a wave of violent crime in Baltimore, Hogan announced that his administration would fast-track and expand the $10 million Neighborhood Safety Grants program to include places of worship and vulnerable communities, and introduced two pieces of legislation aimed at decreasing crime. He also announced that the state would conduct an audit of the Baltimore City State's Attorney's Office, demanding Mosby produce detailed statistics on how often her office dismisses cases or strikes deals with defendants. Senate president Bill Ferguson said that the legislature would not take up Hogan's proposed bills during its 2021 special session.


title: Larry Hogan

text: In April 2022, Hogan vetoed a bill that would require police officers to contact children's parents or guardians and allow them to speak with an attorney before they are interrogated. The General Assembly overrode Hogan's veto the next day.


title: Larry Hogan

text: In May 2017, Hogan vetoed a bill that would have enacted nonpartisan redistricting in Maryland if New York, New Jersey, Pennsylvania, Virginia, and North Carolina all passed the same deal.


title: Larry Hogan

text: In January 2018, Hogan signed an amicus brief filed by former California Governor Gray Davis in the Supreme Court case Benisek v. Lamone, arguing that Maryland's partisan gerrymandering system violates voters' constitutional rights.


title: Larry Hogan

text: In January 2021, Hogan signed an executive order establishing the Maryland Citizens Redistricting Commission (MCRC), which consisted of three Republicans, three Democrats, and three independent voters, in an effort to resolve a gerrymandering issue in the state. The commission would be in charge of creating legislative maps. It held 36 meetings and opened an online mapping application portal for the public to give input into the redistricting process before submitting its final maps on November 4, 2021. Hogan accepted the commission's final map the following day, sending it to the Maryland General Assembly for consideration during a special session on December 6, 2021. He also threatened a legal battle against any maps the General Assembly passed over his veto that he considered unfair. During its 2021 special session, the House Rules Committee did not vote on the commission's maps, instead passing its own map, drawn by the Legislative Redistricting Advisory Committee (LRAC), by a vote of 18–6. The General Assembly rejected amendments that would have swapped out the LRAC proposal with the maps drawn by the MCRC, and sent its maps to Hogan on December 8. Hogan vetoed the LRAC proposal on December 9. The General Assembly overrode his veto the same day. After Judge Lynne A. Battaglia struck down the legislature's maps in March 2022, Hogan issued a statement celebrating the ruling and calling on the General Assembly to enact the MCRC map. The General Assembly again drew its own map a few days later, which passed and was signed into law by Hogan on April 4, 2022, after legislative leaders dropped their appeal of Battaglia's ruling.


title: Larry Hogan

text: In December 2016, Hogan proposed state legislation to require companies with 50 or more employees to provide five days per year of paid sick leave. Hogan's bill was less expansive than legislation passed by the Maryland House of Delegates; it would also have preempted local legislation that was more generous to employees, such as mandated paid sick leave required by Montgomery County, Maryland. In the legislature, Hogan's proposal failed to advance out of committee, and the House of Delegates passed more expansive legislation that requires companies with 15 employees or more to provide seven paid sick-leave days a year, requires companies with fewer than 15 employees to provide five days of unpaid sick leave, and affords benefits for part-time employees. Hogan vetoed the more generous bill, but his veto was overridden.


title: Larry Hogan

text: In April 2022, Hogan vetoed a bill that would provide 12 weeks of partially paid family leave and up to 24 weeks of paid leave for new parents. The General Assembly overrode Hogan's veto the next day.


title: Larry Hogan

text: Hogan personally opposes abortion but has said he "will not try to change Maryland's laws protecting women's rights to the procedure nor to limit access to contraception." Although he commented in opposition to abortion in the early 1980s, he said in the 1990s that abortion should remain legal. In 2016, Hogan signed a law making birth control cheaper. In 2017, the legislature passed a bill to reimburse Planned Parenthood in the event that the federal government withdrew funding, and Hogan allowed the bill to become a law without his signature. He characterized as unnecessary a 2018 initiative Democratic state lawmakers put forward to protect abortion in the Maryland constitution but declined to oppose it, adding that he supported allowing Marylanders to vote on it, which would automatically happen if the General Assembly approved it. "Our laws in Maryland already guarantee a woman's right to choose," he said. "We have some very strong laws and any change in the Supreme Court would not affect Maryland, so I don't think that a constitutional amendment is required, but if that's what they want to do, I'm all for that. Let the voters decide." In April 2022, Hogan vetoed a bill that would expand abortion access by expanding the types of medical professionals who can perform abortions in the state. The General Assembly overrode his veto the next day. Despite the override, Hogan withheld funding for training new abortion providers, effectively delaying the state's training program for a year.


title: Larry Hogan

text: NARAL Pro-Choice America, a political action committee that supports legal abortion, rated Hogan as "mixed-choice" in February 2018.


title: Larry Hogan

text: In 2014, Hogan opposed a transgender rights law signed by Governor Martin O'Malley. As a gubernatorial candidate, he said that he was "originally for civil unions" but that he has evolved to support same-sex marriage. In 2015, Hogan expanded an executive order to include protections for gender identity among "executive branch employees." He neither signed nor vetoed a 2015 bill that allowed transgender Marylanders to change the gender listed on their birth certificates, allowing the bill to become law without his signature.


title: Larry Hogan

text: In 2016, Hogan vetoed legislation to decriminalize possession of marijuana paraphernalia in Maryland, making it a civil infraction rather than a crime. The General Assembly overrode the veto.


title: Larry Hogan

text: In May 2018, Hogan signed legislation into law making Maryland the 11th state to ban conversion therapy for minors.


title: Larry Hogan

text: In May 2021, Hogan vetoed a bill the state legislature passed that decriminalized the possession of drug paraphernalia and reduced the maximum penalty for possession from four years in prison and a $25,000 fine to one year's imprisonment and a $1,000 fine.


title: Larry Hogan

text: In June 2021, Hogan refused to veto or sign a bill banning the use of the gay panic defense and another bill creating the Commission on LGBTQ Affairs in the Governor's Office of Community Initiatives. As a result, both laws went into effect without his signature on October 1, 2021.


title: Larry Hogan

text: In April 2022, Hogan refused to veto or sign a bill that created a framework for legalizing recreational marijuana, allowing the bill to become law without his signature. The bill is dependent on a constitutional referendum to legalize recreational marijuana that voters will consider in the 2022 elections.


title: Larry Hogan

text: In June 2015, Hogan canceled the federally funded Baltimore Red Line project, instead choosing to reallocate money to road construction across Maryland, fulfilling a 2014 campaign promise. Maryland Transportation Secretary Pete Rahn called the Red Line proposal "fatally flawed" and argued that the light rail line would not connect with other public transportation hubs in Baltimore and would require the construction of a $1 billion tunnel through the heart of the city. But plans detailed that the Red Line would connect to the MARC Train at the West Baltimore station and planned Bayview station, the Baltimore Metro Subway at Charles Center station via a pedestrian tunnel, as well as with the Baltimore Light Rail at the University Center/Baltimore Street station at street level. Baltimore Mayor Stephanie Rawlings-Blake criticized the project's cancellation. In May 2022, Hogan vetoed bills that would establish a Baltimore-based regional transit board and to fund a new study of the Red Line project.


title: Larry Hogan

text: Hogan conditionally approved funding for the Purple Line in Maryland's Washington, D.C. suburbs, subject to increased contributions from Montgomery County and Prince George's County. This 2017 decision closed down popular bike paths in Montgomery County for what the state Department of Transportation estimates will be five years (ending in 2022), triggering residents' anger and protests.


title: Larry Hogan

text: In 2016, the Maryland General Assembly introduced HB 1013, the Maryland Open Transportation Investment Decision Act of 2016, which aimed to establish statewide transportation goals through a transparent scoring process by the Maryland Department of Transportation. Inspired by Hogan's decision to cancel the Baltimore Red Line and shift funding to rural areas of the state, the legislation would require the Transportation Department to develop a project-based scoring system and promulgate regulations for the public. In April 2016, Hogan vetoed the bill, saying that it was politically motivated and would increase the cancellation risk for major transportation projects throughout the state. He said that the bill would force him to cancel 66 transportation projects and called it the "Road Kill Bill". Hogan did not explain why he considered the measure politically motivated. A prior investigation by the U.S. Department of Transportation revealed that the decision to cancel the red line was made unilaterally by his office without consulting the Maryland Department of Transportation. The General Assembly overrode Hogan's veto on April 8, 2016. Hogan deemed repealing the legislation to be his top priority, but gridlock and tension between him and the legislature prevented an alternative solution from being reached. In May 2019, "The Baltimore Sun" reported that transit advocates had accused the Hogan administration of using a biased scoring process in which administration-supported projects (such as the Beltway expansion plan) receive high scores and disfavored ones (such as the Baltimore Red Line) receive low scores. One critic cited in the piece said, "The General Assembly passed this law in an attempt to be more open and transparent...MDOT has complied with the law to the minimum extent possible...Projects they want to fund get perfect scores and projects they don't want to fund get low scores. It doesn't pass the smell test that they're faithfully executing this law."


title: Larry Hogan

text: During his second term, Hogan made efforts to expand the Maryland sections of the Capital Beltway (Interstate 495) and Interstate 270 by proposing a plan to add up to two high-occupancy toll lanes (referred to critically as "Lexus lanes") on each highway in each direction, arguing that the project would reduce traffic congestion. The proposal was highly controversial, and was opposed by a number of planners and officials, including the Prince George's County Council, Montgomery County Executive Marc Elrich, and local citizens' organizations such as Citizens Against Beltway Expansion. The only poll on the subject of the Beltway expansion plan showed that in principle, 61% support the toll road, but 73% were very or somewhat concerned about the loss of homes, 69% very or somewhat concerned that the road would be too expensive to use, and 68% were very or somewhat concerned that the new highway would not reduce congestion. The plan's cost also has risen from $9 billion to $11 billion since it was first made public, an amount that the Hogan administration says will be paid for entirely by private contractors.


title: Larry Hogan

text: On May 8, 2019, the Prince George's County Council voted unanimously for a proposal requiring Hogan to undertake further environmental reviews before proceeding with the plan. On June 5, the State Board of Public Works (composed of Hogan, State Comptroller Peter Franchot, and State Treasurer Nancy Kopp) voted to approve the proposal. Hogan and Franchot voted in favor of it, Kopp against.


title: Larry Hogan

text: In August 2021, the Maryland Board of Public Works voted to accept a contract that would allow an international consortium to begin design work on the plan to add privately financed toll lanes to portions of the Beltway and I-270, with Hogan and Franchot voting to approve the plans and Kopp voting against it. A second contract, which set up a one-dollar-a-year lease arrangement over 60 years between the Maryland Department of Transportation and the Maryland Transportation Authority, was also agreed upon. On November 19, 2021, the Maryland Transportation Authority Board voted unanimously to approve toll rates on Interstate 270, with prices depending on whether drivers use EZ-Pass or video tolling, the driver's vehicle and amount of passengers, and if drivers commute during hours where traffic is especially acute.


title: Larry Hogan

text: These decisions can be considered strange in the context of Hogan's stated support for the Paris Climate accord. One possibility is that he is seeking to advance his business interests in a corrupt manner.


title: Larry Hogan

text: On July 15, 2015, Hogan endorsed New Jersey Governor Chris Christie in his campaign for the Republican nomination for president. In June 2016, Hogan said he had no plans to support Donald Trump, the Republican Party's presumptive nominee. Hogan later attended Trump's inauguration. During Trump's administration, Hogan mixed criticism of Trump (including a suggestion that the Republican Party should reorient itself away from Trump) with praise for Trump in economic and public health matters.


title: Larry Hogan

text: In his January 2019 inaugural address, Hogan hinted he was considering launching a Republican primary challenge to Trump in the 2020 presidential election. In March 2019, Hogan said he was listening to many who were encouraging him to challenge Trump and would not rule it out. In an April 2019 event in New Hampshire, Hogan said he intended to give "serious consideration" to a primary challenge to Trump. Polls conducted in April and May 2019 suggested Hogan would receive the votes of 24% of Republican voters against 68% for Trump in the Maryland Republican primary. In June 2019, Hogan announced that he would not challenge Trump in the 2020 Republican primaries in order to focus on governing Maryland and chairing the National Governors Association. Shortly afterward, Hogan said he had no interest in running for the U.S. Senate in 2022, but left open the possibility of running for president in 2024. He also launched An America United, a national advocacy group that is also intended to raise Hogan's profile and give him a voice on the national level.


title: Larry Hogan

text: In October 2019, Hogan announced his support for the U.S. House of Representatives' impeachment inquiry against Trump. In February 2020, after Trump was impeached and acquitted by the Senate, Hogan criticized Congress, saying that House Democrats "had already decided before the hearings that the president should be impeached" and that Senate Republicans were going to acquit Trump "no matter what the facts were". In September 2020, Hogan endorsed U.S. Senator Susan Collins for reelection. In November 2020, he announced his support for Senators David Perdue and Kelly Loeffler in the January 2021 runoff elections in Georgia.


title: Larry Hogan

text: In August 2020, during an interview on the Maryland response to the COVID-19 pandemic, Hogan said that he was unenthusiastic about Trump and the Democratic nominee, Joe Biden, but said it was conceivable that his vote could be swayed by either candidate before election day. He ultimately wrote in a vote for late President Ronald Reagan.


title: Larry Hogan

text: In December 2020, Hogan was announced as the national co-chair of No Labels, a centrist political organization.


title: Larry Hogan

text: In January 2021, in response to the storming of the U.S. Capitol by a pro-Trump mob, Hogan sent in the Maryland National Guard to protect the Capitol, after initially being denied permission multiple times. Shortly after the attack, Hogan said, "I think there's no question that America would be better off if the president would resign or be removed from office." He supported Trump's impeachment for incitement of insurrection and said that, had he been in the Senate, he would have voted to convict Trump and remove him from office. Hogan later ordered the Maryland National Guard to aid in protecting the inauguration of Biden.


title: Larry Hogan

text: In August 2021, Hogan applauded the passage of the Infrastructure Investment and Jobs Act in the Senate and thanked his Senate partners for including every recommendation the National Governors Association made. He also criticized Trump and other Republicans for targeting the 13 House Republicans who voted for the act.


title: Larry Hogan

text: In November 2021, after the House of Representatives passed the Build Back Better Act, Hogan issued a statement urging the Senate to reject the bill.


title: Larry Hogan

text: Hogan resides in Government House in Annapolis with his wife Yumi Hogan, a Korean-origin U.S. citizen who is an artist and adjunct instructor at Maryland Institute College of Art. The couple met in 2001 and married in 2004. Hogan and his wife are Roman Catholic. Hogan is the stepfather of Yumi's three adult daughters from her first marriage: Kim Velez, Jaymi Sterling, and Julie Kim. Hogan's half-brother, Patrick N. Hogan, represented a district in Frederick County, Maryland in the Maryland House of Delegates from 2003 to 2007 and 2011 to 2015.


title: Larry Hogan

text: In June 2015, Hogan announced that he had been diagnosed with stage-three non-Hodgkin lymphoma and was undergoing treatment. He completed 18 weeks of chemotherapy and announced in November 2015 that the cancer was in remission. He underwent his last chemotherapy treatment in October 2016 and was deemed cancer-free. In January 2021, Hogan underwent surgery to remove early stage squamous cell skin cancer from his face and shoulder, a repeat of similar surgery he had in 2018.


title: John Gielgud

text: Sir Arthur John Gielgud, (; 14 April 1904 – 21 May 2000) was an English actor and theatre director whose career spanned eight decades. With Ralph Richardson and Laurence Olivier, he was one of the trinity of actors who dominated the British stage for much of the 20th century. A member of the Terry family theatrical dynasty, he gained his first paid acting work as a junior member of his cousin Phyllis Neilson-Terry's company in 1922. After studying at the Royal Academy of Dramatic Art he worked in repertory theatre and in the West End before establishing himself at the Old Vic as an exponent of Shakespeare in 1929–31.


title: John Gielgud

text: During the 1930s Gielgud was a stage star in the West End and on Broadway, appearing in new works and classics. He began a parallel career as a director, and set up his own company at the Queen's Theatre, London. He was regarded by many as the finest Hamlet of his era, and was also known for high comedy roles such as John Worthing in "The Importance of Being Earnest". In the 1950s Gielgud feared that his career was threatened when he was convicted and fined for a homosexual offence, but his colleagues and the public supported him loyally. When "" plays began to supersede traditional West End productions in the later 1950s he found no new suitable stage roles, and for several years he was best known in the theatre for his one-man Shakespeare show "Ages of Man". From the late 1960s he found new plays that suited him, by authors including Alan Bennett, David Storey and Harold Pinter.


title: John Gielgud

text: During the first half of his career, Gielgud did not take the cinema seriously. Though he made his first film in 1924, and had successes with "The Good Companions" (1933) and "Julius Caesar" (1953), he did not begin a regular film career until his sixties. Gielgud appeared in more than sixty films between "Becket" (1964), for which he received his first Academy Award nomination for playing Louis VII of France, and "Elizabeth" (1998). As the acid-tongued Hobson in "Arthur" (1981) he won the Academy Award for Best Supporting Actor. His film work further earned him a Golden Globe Award and two BAFTAs.


title: John Gielgud

text: Although largely indifferent to awards, Gielgud had the rare distinction of winning an Oscar, an Emmy, a Grammy, and a Tony. He was famous from the start of his career for his voice and his mastery of Shakespearean verse. He broadcast more than a hundred radio and television dramas between 1929 and 1994, and made commercial recordings of many plays, including ten of Shakespeare's. Among his honours, he was knighted in 1953 and the Gielgud Theatre was named after him. From 1977 to 1989, he was president of the Royal Academy of Dramatic Art.


title: John Gielgud

text: Gielgud was born on 14 April 1904 in South Kensington, London, the third of the four children of Frank Henry Gielgud (1860–1949) and his second wife, Kate Terry-Gielgud, "née" Terry-Lewis (1868–1958). Gielgud's older brothers were Lewis, who became a senior official of the Red Cross and UNESCO, and Val, later head of BBC radio drama; his younger sister Eleanor became John's secretary for many years. On his father's side, Gielgud was of Lithuanian and Polish descent. The surname derives from Gelgaudiškis, a village in Lithuania. The Counts Gielgud had owned the Gelgaudiškis Manor on the Nemunas river, but their estates were confiscated after they took part in a failed uprising against Russian rule in 1830–31. Jan Gielgud took refuge in England with his family; one of his grandchildren was Frank Gielgud, whose maternal grandmother was a famous Polish actress, Aniela Aszpergerowa.


title: John Gielgud

text: Frank married into a family with wide theatrical connections. His wife, who was on the stage until she married, was the daughter of the actress Kate Terry, and a member of the stage dynasty that included Ellen, Fred and Marion Terry, Mabel Terry-Lewis and Edith and Edward Gordon Craig. Frank had no theatrical ambitions and worked all his life as a stockbroker in the City of London.


title: John Gielgud

text: In 1912, aged eight, Gielgud went to Hillside preparatory school in Surrey as his elder brothers had done. For a child with no interest in sport he acquitted himself reasonably well in cricket and rugby for the school. In class, he hated mathematics, was fair at classics, and excelled at English and divinity. Hillside encouraged his interest in drama, and he played several leading roles in school productions, including Mark Antony in "Julius Caesar" and Shylock in "The Merchant of Venice".


title: John Gielgud

text: After Hillside, Lewis and Val had won scholarships to Eton and Rugby, respectively; lacking their academic achievement, John failed to secure such a scholarship. He was sent as a day boy to Westminster School where, as he later said, he had access to the West End "in time to touch the fringe of the great century of the theatre". He saw Sarah Bernhardt act, Adeline Genée dance and Albert Chevalier, Vesta Tilley and Marie Lloyd perform in the music halls. The school choir sang in services at Westminster Abbey, which appealed to his fondness for ritual. He showed talent at sketching, and for a while thought of scenic design as a possible career.


title: John Gielgud

text: The young Gielgud's father took him to concerts, which he liked, and galleries and museums, "which bored me rigid". Both parents were keen theatregoers, but did not encourage their children to follow an acting career. Val Gielgud recalled, "Our parents looked distinctly sideways at the Stage as a means of livelihood, and when John showed some talent for drawing his father spoke crisply of the advantages of an architect's office." On leaving Westminster in 1921, Gielgud persuaded his reluctant parents to let him take drama lessons on the understanding that if he was not self-supporting by the age of twenty-five he would seek an office post.


title: John Gielgud

text: Gielgud, aged seventeen, joined a private drama school run by Constance Benson, wife of the actor-manager Sir Frank Benson. On the new boy's first day Lady Benson remarked on his physical awkwardness: "she said I walked like a cat with rickets. It dealt a severe blow to my conceit, which was a good thing." Before and after joining the school he played in several amateur productions, and in November 1921 made his debut with a professional company, though he himself was not paid. He played the Herald in "Henry V" at the Old Vic; he had one line to speak and, he recalled, spoke it badly. He was kept on for the rest of the season in walk-on parts in "King Lear", "Wat Tyler" and "Peer Gynt", with no lines.


title: John Gielgud

text: Gielgud's first substantial engagement came through his family. In 1922 his cousin Phyllis Neilson-Terry invited him to tour in J. B. Fagan's "The Wheel", as understudy, bit-part player and assistant stage manager, an invitation he accepted. A colleague, recognising that the young man had talent but lacked technique, recommended him to the Royal Academy of Dramatic Art (RADA). Gielgud was awarded a scholarship to the academy and trained there throughout 1923 under Kenneth Barnes, Helen Haye and Claude Rains.


title: John Gielgud

text: The actor-manager Nigel Playfair, a friend of Gielgud's family, saw him in a student presentation of J. M. Barrie's "The Admirable Crichton". Playfair was impressed and cast him as Felix, the poet-butterfly, in the British premiere of the Čapek brothers' "The Insect Play". Gielgud later said that he made a poor impression in the part: "I am surprised that the audience did not throw things at me." The critics were cautious but not hostile to the play; it did not attract the public and closed after a month. While still continuing his studies at RADA, Gielgud appeared again for Playfair in "RobertE Lee" by John Drinkwater. After leaving the academy at the end of 1923 Gielgud played a Christmas season as Charley in "Charley's Aunt" in the West End, and then joined Fagan's repertory company at the Oxford Playhouse.


title: John Gielgud

text: Gielgud was in the Oxford company in January and February 1924, from October 1924 to the end of January 1925, and in August 1925. He played a wide range of parts in classics and modern plays, greatly increasing his technical abilities in the process. The role he most enjoyed was Trofimov in "The Cherry Orchard", his first experience of Chekhov: "It was the first time I ever went out on stage feeling that perhaps, after all, I could really be an actor."


title: John Gielgud

text: Between Gielgud's first two Oxford seasons, the producer Barry Jackson cast him as Romeo to the Juliet of Gwen Ffrangcon-Davies at the Regent's Theatre, London, in May 1924. The production was not a great success, but the two performers became close friends and frequently worked together throughout their careers. Gielgud made his screen debut during 1924 as Daniel Arnault in Walter Summers's silent film "Who Is the Man?" (1924).


title: John Gielgud

text: In May 1925 the Oxford production of "The Cherry Orchard" was brought to the Lyric Theatre, Hammersmith. Gielgud again played Trofimov. His distinctive speaking voice attracted attention and led to work for BBC Radio, which his biographer Sheridan Morley calls "a medium he made his own for seventy years". In the same year Noël Coward chose Gielgud as his understudy in his play "The Vortex". For the last month of the West End run Gielgud took over Coward's role of Nicky Lancaster, the drug-addicted son of a nymphomaniac mother. It was in Gielgud's words "a highly-strung, nervous, hysterical part which depended a lot upon emotion". He found it tiring to play because he had not yet learned how to pace himself, but he thought it "a thrilling engagement because it led to so many great things afterwards".


title: John Gielgud

text: The success of "The Cherry Orchard" led to what one critic called a "Chekhov boom" in British theatres, and Gielgud was among its leading players. As Konstantin in "The Seagull" in October 1925 he impressed the Russian director Theodore Komisarjevsky, who cast him as Tusenbach in the British premiere of "Three Sisters". The production received enthusiastic reviews, and Gielgud's highly praised performance enhanced his reputation as a potential star. There followed three years of mixed fortunes for him, with successes in fringe productions, but West End stardom was elusive.


title: John Gielgud

text: In 1926 the producer Basil Dean offered Gielgud the lead role, Lewis Dodd, in a dramatisation of Margaret Kennedy's best-selling novel, "The Constant Nymph". Before rehearsals began Dean found that a bigger star than Gielgud was available, namely Coward, to whom he gave the part. Gielgud had an enforceable contractual claim to the role, but Dean, a notorious bully, was a powerful force in British theatre. Intimidated, Gielgud accepted the position of understudy, with a guarantee that he would take over the lead from Coward when the latter, who disliked playing in long runs, left. In the event Coward, who had been overworking, suffered a nervous collapse three weeks after the opening night, and Gielgud played the lead for the rest of the run. The play ran for nearly a year in London and then went on tour.


title: John Gielgud

text: By this time Gielgud was earning enough to leave the family home and take a small flat in the West End. He had his first serious romantic relationship, living with John Perry, an unsuccessful actor, later a writer, who remained a lifelong friend after their affair ended. Morley makes the point that, like Coward, Gielgud's principal passion was the stage; both men had casual dalliances, but were more comfortable with "low-maintenance" long-term partners who did not impede their theatrical work and ambitions.


title: John Gielgud

text: In 1928 Gielgud made his Broadway debut as the Grand Duke Alexander in Alfred Neumann's "The Patriot". The play was a failure, closing after a week, but Gielgud liked New York and received favourable reviews from critics including Alexander Woollcott and Brooks Atkinson. After returning to London he starred in a succession of short runs, including Ibsen's "Ghosts" with Mrs Patrick Campbell (1928), and Reginald Berkeley's "The Lady with a Lamp" (1929) with Edith Evans and Gwen Ffrangcon-Davies. In 1928 he made his second film, "The Clue of the New Pin". This, billed as "the first British full-length talkie", was an adaptation of an Edgar Wallace mystery story; Gielgud played a young scoundrel who commits two murders and very nearly a third before he himself is killed.


title: John Gielgud

text: In 1929 Harcourt Williams, newly appointed as director of productions at the Old Vic, invited Gielgud to join the company for the forthcoming season. The Old Vic, in an unfashionable area of London south of the Thames, was run by Lilian Baylis to offer plays and operas to a mostly working-class audience at low ticket prices. She paid her performers very modest wages, but the theatre was known for its unrivalled repertory of classics, mostly Shakespeare, and Gielgud was not the first West End star to take a large pay cut to work there. It was, in Morley's words, the place to learn Shakespearean technique and try new ideas.


title: John Gielgud

text: During his first season at the Old Vic, Gielgud played Romeo to the Juliet of Adele Dixon, Antonio in "The Merchant of Venice", Cleante in "The Imaginary Invalid", the title role in "Richard II", and Oberon in "A Midsummer Night's Dream". His Romeo was not well reviewed, but as Richard II Gielgud was recognised by critics as a Shakespearean actor of undoubted authority. The reviewer in "The Times" commented on his sensitiveness, strength and firmness, and called his performance "work of genuine distinction, not only in its grasp of character, but in its control of language". Later in the season he was cast as Mark Antony in "Julius Caesar", Orlando in "As You Like It", the Emperor in "Androcles and the Lion" and the title role in Pirandello's "The Man with the Flower in His Mouth".


title: John Gielgud

text: In April 1930 Gielgud finished the season playing Hamlet. Williams's production used the complete text of the play. This was regarded as a radical innovation; extensive cuts had been customary for earlier productions. A running time of nearly five hours did not dampen the enthusiasm of the public, the critics or the acting profession. Sybil Thorndike said, "I never hoped to see Hamlet played as in one's dreams ... I've had an evening of being swept right off my feet into another life – far more real than the life I live in, and moved, moved beyond words." The production gained such a reputation that the Old Vic began to attract large numbers of West End theatregoers. Demand was so great that the cast moved to the Queen's Theatre, in Shaftesbury Avenue, where Williams staged the piece with the text discreetly shortened. The effect of the cuts was to give the title role even more prominence. Gielgud's Hamlet was richly praised by the critics. Ivor Brown called it "a tremendous performance ... the best Hamlet of [my] experience". James Agate wrote, "I have no hesitation whatsoever in saying that it is the high water-mark of English Shakespearean acting of our time."


title: John Gielgud

text: Hamlet was a role with which Gielgud was associated over the next decade and more. After the run at the Queen's finished he turned to another part for which he became well known, John Worthing in "The Importance of Being Earnest". Gielgud's biographer Jonathan Croall comments that the two roles illustrated two sides of the actor's personality: on the one hand the romantic and soulful Hamlet, and on the other the witty and superficial Worthing. The formidable Lady Bracknell was played by his aunt, Mabel Terry-Lewis. "The Times" observed, "Mr Gielgud and Miss Terry-Lewis together are brilliant ... they have the supreme grace of always allowing Wilde to speak in his own voice."


title: John Gielgud

text: Returning to the Old Vic for the 1930–31 season, Gielgud found several changes to the company. Donald Wolfit, who loathed him and was himself disliked by his colleagues, was dropped, as was Adele Dixon. Gielgud was uncertain of the suitability of the most prominent new recruit, Ralph Richardson, but Williams was sure that after this season Gielgud would move on; he saw Richardson as a potential replacement. The two actors had little in common. Richardson recalled, "He was a kind of brilliant butterfly, while I was a very gloomy sort of boy", and "I found his clothes extravagant, I found his conversation flippant. He was the New Young Man of his time and I didn't like him." The first production of the season was "Henry IV, Part 1", in which Gielgud as Hotspur had the best of the reviews. Richardson's notices, and the relationship of the two leading men, improved markedly when Gielgud, who was playing Prospero in "The Tempest", helped Richardson with his performance as Caliban:


title: John Gielgud

text: The friendship and professional association lasted for more than fifty years, until the end of Richardson's life. Gielgud's other roles in this season were Lord Trinket in "The Jealous Wife", Richard II again, Antony in "Antony and Cleopatra", Malvolio in "Twelfth Night", Sergius in "Arms and the Man", Benedick in "Much Ado About Nothing" – another role for which he became celebrated – and he concluded the season as King Lear. His performance divided opinion. "The Times" commented, "It is a mountain of a part, and at the end of the evening the peak remains unscaled"; in "The Manchester Guardian", however, Brown wrote that Gielgud "is a match for the thunder, and at length takes the Dover road with a broken tranquillity that allowed every word of the King's agony to be clear as well as poignant".


title: John Gielgud

text: Returning to the West End, Gielgud starred in J. B.Priestley's "The Good Companions", adapted for the stage by the author and Edward Knoblock. The production ran from May 1931 for 331 performances, and Gielgud described it as his first real taste of commercial success. He played Inigo Jollifant, a young schoolmaster who abandons teaching to join a travelling theatre troupe. This crowd-pleaser drew disapproval from the more austere reviewers, who felt Gielgud should be doing something more demanding, but he found playing a conventional juvenile lead had challenges of its own and helped him improve his technique. During the run of the play he made another film, "Insult" (1932), a melodrama about the French Foreign Legion, and he starred in a cinema version of "The Good Companions" in 1933, with Jessie Matthews. A letter to a friend reveals Gielgud's view of film acting: "There is talk of my doing Inigo in the film of "The Good Companions", which appals my soul but appeals to my pocket." In his first volume of memoirs, published in 1939, Gielgud devoted two pages to describing the things about filming that he detested. Unlike his contemporaries Richardson and Laurence Olivier, he made few films until after the Second World War, and did not establish himself as a prominent film actor until many years after that. As he put it in 1994, "I was stupid enough to toss my head and stick to the stage while watching Larry and Ralph sign lucrative Korda contracts."


title: John Gielgud

text: In 1932 Gielgud turned to directing. At the invitation of George Devine, the president of the Oxford University Dramatic Society, Gielgud took charge of a production of "Romeo and Juliet" by the society, featuring two guest stars: Peggy Ashcroft as Juliet and Edith Evans as the Nurse. The rest of the cast were students, led by Christopher Hassall as Romeo, and included Devine, William Devlin and Terence Rattigan. The experience was satisfactory to Gielgud: he enjoyed the attentions of the undergraduates, had a brief affair with one of them, James Lees-Milne, and was widely praised for his inspiring direction and his protégés' success with the play. Already notorious for his innocent slips of the tongue (he called them "Gielgoofs"), in a speech after the final performance he referred to Ashcroft and Evans as "Two leading ladies, the like of whom I hope I shall never meet again".


title: John Gielgud

text: During the rest of 1932 Gielgud played in a new piece, "Musical Chairs" by Ronald Mackenzie, and directed one new and one classic play, "Strange Orchestra" by Rodney Ackland in the West End, and "The Merchant of Venice" at the Old Vic, with Malcolm Keen as Shylock and Ashcroft as Portia. In 1932 he starred in "Richard of Bordeaux" by Elizabeth MacKintosh. This, a retelling in modern language of the events of "Richard II", was greeted as the most successful historical play since Shaw's "Saint Joan" nine years earlier, more faithful to the events than Shakespeare had been. After an uncertain start in the West End it rapidly became a sell-out hit and played in London and on tour over the next three years.


title: John Gielgud

text: Between seasons of "Richard", in 1934 Gielgud returned to "Hamlet" in London and on tour, directing and playing the title role. The production was a box-office success, and the critics were lavish in their praise. In "The New York Times", Charles Morgan wrote, "I have never before heard the rhythm and verse and the naturalness of speech so gently combined. ... If I see a better performance of this play than this before I die, it will be a miracle." Morley writes that junior members of the cast such as Alec Guinness and Frith Banbury would gather in the wings every night "to watch what they seemed intuitively already to know was to be the Hamlet of their time".


title: John Gielgud

text: The following year Gielgud staged perhaps his most famous Shakespeare production, a "Romeo and Juliet" in which he co-starred with Ashcroft and Olivier. Gielgud had spotted Olivier's potential and gave him a major step up in his career. For the first weeks of the run Gielgud played Mercutio and Olivier played Romeo, after which they exchanged roles. As at Oxford, Ashcroft and Evans were Juliet and the nurse. The production broke all box-office records for the play, running at the New Theatre for 189 performances. Olivier was enraged at the notices after the first night, which praised the virility of his performance but fiercely criticised his speaking of Shakespeare's verse, comparing it with his co-star's mastery of the poetry. The friendship between the two men was prickly, on Olivier's side, for the rest of his life.


title: John Gielgud

text: In May 1936 Gielgud played Trigorin in "The Seagull", with Evans as Arkadina and Ashcroft as Nina. Komisarjevsky directed, which made rehearsals difficult as Ashcroft, with whom he had been living, had just left him. Nonetheless, Morley writes, the critical reception was ecstatic. In the same year Gielgud made his last pre-war film, co-starring with Madeleine Carroll in Alfred Hitchcock's "Secret Agent". The director's insensitivity to actors made Gielgud nervous and further increased his dislike of filming. The two stars were praised for their performances, but Hitchcock's "preoccupation with incident" was felt by critics to make the leading roles one-dimensional, and the laurels went to Peter Lorre as Gielgud's deranged assistant.


title: John Gielgud

text: From September 1936 to February 1937 Gielgud played Hamlet in North America, opening in Toronto before moving to New York and Boston. He was nervous about starring on Broadway for the first time, particularly as it became known that the popular actor Leslie Howard was to appear there in a rival production of the play. When Gielgud opened at the Empire Theatre in October the reviews were mixed, but, as the actor wrote to his mother, the audience response was extraordinary. "They stay at the end and shout every night and the stage door is beset by fans." Howard's production opened in November; it was, in Gielgud's words, a débâcle, and the "battle of the Hamlets" heralded in the New York press was over almost as soon as it had begun. Howard's version closed within a month; the run of Gielgud's production beat Broadway records for the play.


title: John Gielgud

text: After his return from America in February 1937 Gielgud starred in "He Was Born Gay" by Emlyn Williams. This romantic tragedy about French royalty after the Revolution was quite well received during its pre-London tour, but was savaged by the critics in the West End. "The Times" said, "This is one of those occasions on which criticism does not stand about talking, but rubs its eyes and withdraws hastily with an embarrassed, incredulous, and uncomprehending blush. What made Mr Emlyn Williams write this play or Mr Gielgud and Miss Ffrangcon-Davies appear in it is not to be understood." The play closed after twelve performances. Its failure, so soon after his Shakespearean triumphs, prompted Gielgud to examine his career and his life. His domestic relationship with Perry was comfortable but unexciting, he saw no future in a film career, and the Old Vic could not afford to stage the classics on the large scale to which he aspired. He decided that he must form his own company to play Shakespeare and other classic plays in the West End.


title: John Gielgud

text: Gielgud invested £5,000, most of his earnings from the American "Hamlet"; Perry, who had family money, put in the same sum. From September 1937 to April 1938 Gielgud was the tenant of the Queen's Theatre, where he presented a season consisting of "Richard II", "The School for Scandal", "Three Sisters", and "The Merchant of Venice". His company included Harry Andrews, Peggy Ashcroft, Glen Byam Shaw, George Devine, Michael Redgrave and Harcourt Williams, with Angela Baddeley and Gwen Ffrangcon-Davies as guests. His own roles were King Richard, Joseph Surface, Vershinin and Shylock. Gielgud's performances drew superlatives from reviewers and colleagues. Agate considered his Richard II, "probably the best piece of Shakespearean acting on the English stage today". Olivier said that Gielgud's Joseph Surface was "the best light comedy performance I've ever seen, or ever shall see".


title: John Gielgud

text: The venture did not make much money, and in July 1938 Gielgud turned to more conventional West End enterprises, in unconventional circumstances. He directed "Spring Meeting", a farce by Perry and Molly Keane, presented by Binkie Beaumont, for whom Perry had just left Gielgud. Somehow the three men remained on excellent terms. In September of the same year Gielgud appeared in Dodie Smith's sentimental comedy "Dear Octopus". The following year he directed and appeared in "The Importance of Being Earnest" at the Globe, with Evans playing Lady Bracknell for the first time. They were gratified when Allan Aynesworth, who had played Algernon in the 1895 premiere, said that the new production "caught the gaiety and exactly the right atmosphere. It's all delightful!"


title: John Gielgud

text: At the start of the Second World War Gielgud volunteered for active service, but was told that men of his age, thirty-five, would not be wanted for at least six months. The government quickly came to the view that most actors would do more good performing to entertain the troops and the general public than serving, whether suitable or not, in the armed forces.


title: John Gielgud

text: Gielgud directed Michael Redgrave in a 1940 London production of "The Beggar's Opera" for the Glyndebourne Festival. This was a chaotic affair: Gielgud's direction confused his star, and when Redgrave lost his voice Gielgud had to step in and sing the role as best he could. Gielgud felt that something serious or even solemn was necessary for wartime London, where most entertainment was light-hearted. Together with Harley Granville-Barker and Guthrie he reopened the Old Vic with Shakespeare. His King Lear once again divided the critics, but his Prospero was a considerable success. He played the role quite differently from his attempt on the same stage in 1930: in place of the "manic conjurer" his Prospero was "very far from the usual mixture of Father Christmas, a Colonial Bishop, and the President of the Magicians' Union ... a clear, arresting picture of a virile Renaissance notable", according to Brown. The critics singled out, among the other players, Jack Hawkins as Caliban, Marius Goring as Ariel, Jessica Tandy as Miranda and Alec Guinness as Ferdinand.


title: John Gielgud

text: Following the example of several of his stage colleagues, Gielgud joined tours of military camps. He gave recitals of prose and poetry, and acted in a triple bill of short plays, including two from Coward's "Tonight at 8.30", but he found at first that less highbrow performers like Beatrice Lillie were better than he at entertaining the troops. He returned to filming in 1940, as Disraeli in Thorold Dickinson's "The Prime Minister". In this morale-boosting film he portrayed the politician from ages thirty to seventy; this was, in Morley's view, the first time he seemed at home before the camera. Gielgud made no more films for the next ten years; he turned down the role of Julius Caesar in the 1945 film of Shaw's "Caesar and Cleopatra" with Vivien Leigh. He and Leigh were close friends, and Shaw tried hard to persuade him to play the part, but Gielgud had taken a strong dislike to the director, Gabriel Pascal. Caesar was eventually played by Gielgud's former teacher, Claude Rains.


title: John Gielgud

text: Throughout 1941 and 1942 Gielgud worked continually, in Barrie's "Dear Brutus", another "Importance of Being Earnest" in the West End, and "Macbeth" on tour. Returning, with more assurance than before, to entertaining the troops, he so far departed from his classical style as to join Lillie and Michael Wilding singing a comic trio. His 1943 revival of William Congreve's "Love for Love" on tour and then in London received high praise from reviewers. In 1944 he was approached by Ralph Richardson, who had been asked by the governors of the Old Vic to form a new company. Unwilling to take sole charge, Richardson proposed a managing triumvirate of Gielgud, Olivier and himself. Gielgud declined: "It would be a disaster, you would have to spend your whole time as referee between Larry and me."


title: John Gielgud

text: A 1944–45 season at the Haymarket for Beaumont included a Hamlet that many considered his finest. Agate wrote, "Mr Gielgud is now completely and authoritatively master of this tremendous part... I hold that this is, and is likely to remain, the best Hamlet of our time." Also in the season were "A Midsummer Night's Dream", "The Duchess of Malfi" and the first major revival of "Lady Windermere's Fan" (1945). These productions attracted much praise, but at this point in his career Gielgud was somewhat overshadowed by his old colleagues. Olivier was celebrated for his recent film of "Henry V", and with Richardson (and John Burrell in Gielgud's stead) was making the Old Vic "the most famous theatre in the Anglo-Saxon world" according to the critic Harold Hobson.


title: John Gielgud

text: In late 1945 and early 1946 Gielgud toured for ENSA in the Middle and Far East with "Hamlet" and Coward's "Blithe Spirit". During this tour he played Hamlet on stage for the last time. He was Raskolnikoff in a stage version of "Crime and Punishment", in the West End in 1946 and on Broadway the following year. Agate thought it the best thing Gielgud had done so far, other than Hamlet. Between these two engagements Gielgud toured North America in "The Importance of Being Earnest" and "Love for Love". Edith Evans was tired of the role of Lady Bracknell, and refused to join him; Margaret Rutherford played the part to great acclaim. Gielgud was in demand as a director, with six productions in 1948–49. They included "The Heiress" in 1949, when he was brought in at the last moment to direct Richardson and Ashcroft, saving what seemed a doomed production; it ran for 644 performances. His last big hit of the 1940s was as Thomas Mendip in "The Lady's Not for Burning", which he also directed. The London cast included the young Claire Bloom and Richard Burton, who went with Gielgud when he took the piece to the US the following year.


title: John Gielgud

text: At the Shakespeare Memorial Theatre, Stratford-upon-Avon, Gielgud did much to reclaim his position as a leading Shakespearean. His cold, unsympathetic Angelo in Peter Brook's production of "Measure for Measure" (1950) showed the public a new, naturalistic manner in his playing. He followed this with three other Shakespeare productions with Brook, which were well received. His own attempt at direction in Stratford, for Richardson's "Macbeth" in 1952, was much less successful, with poor notices for the star and worse ones for the director.


title: John Gielgud

text: In 1953 Gielgud made his first Hollywood film, the sole classical actor in Joseph L. Mankiewicz's "Julius Caesar", playing Cassius. Marlon Brando (Mark Antony) was in awe of him, and James Mason (Brutus) was disheartened at Gielgud's seemingly effortless skill. Gielgud, for his part, felt he learned much about film technique from Mason. Gielgud enjoyed his four-month stay in California, not least, as Morley comments, for the relaxed attitude there to homosexuality.


title: John Gielgud

text: Returning to London later in 1953 Gielgud took over management of the Lyric, Hammersmith, for a classical season of "Richard II", Congreve's "The Way of the World", and Thomas Otway's "Venice Preserv'd", directing the first, acting in the last, and doing both in the second. Feeling he was too old for Richard, he cast the young Paul Scofield; both the actor and the production were a critical and commercial success. During the season Gielgud was knighted in the 1953 Coronation Honours.


title: John Gielgud

text: On the evening of 20 October 1953, Gielgud, usually highly discreet about casual sex, was arrested in Chelsea for cottaging (i.e. cruising for sex in a public lavatory). Until the 1960s sexual activity of any kind between men was illegal in Britain. The Home Secretary of the day, David Maxwell Fyfe, was fervently homophobic, urging the police to arrest anyone who contravened the Victorian laws against homosexuality. Gielgud was fined; when the press reported the story, he thought his disgrace would end his career. When the news broke he was in Liverpool on the pre-London tour of a new play, "A Day by the Sea". According to the biographer Richard Huggett, Gielgud was so paralysed by nerves that the prospect of going onstage as usual seemed impossible, but his fellow players, led by Sybil Thorndike, encouraged him:


title: John Gielgud

text: His career was safe, but the episode briefly affected Gielgud's health; he suffered a nervous breakdown some months afterwards. He never spoke publicly about the incident, and it was quickly sidelined by the press and politely ignored by writers during his lifetime. Privately he made donations to gay campaign groups, but did not endorse them in public. In his later years he said to the actor Simon Callow, "I do admire people like you and Ian McKellen for coming out, but I can't be doing with that myself."


title: John Gielgud

text: Between December 1953 and June 1955 Gielgud concentrated on directing and did not appear on stage. His productions ranged from a revival of "Charley's Aunt" with John Mills to "The Cherry Orchard" with Ffrangcon-Davies, and "Twelfth Night" with Olivier. His return to the stage was in a production of "King Lear", which was badly hampered by costumes and scenery by Isamu Noguchi that the critics found ludicrous. A revival of "Much Ado About Nothing" with Ashcroft in 1955 was much better received; in "The Manchester Guardian", Philip Hope-Wallace called it "Shakespearean comedy for once perfectly realised". In 1955 Gielgud made his second appearance in a film of Shakespeare, portraying Clarence in Olivier's "Richard III".


title: John Gielgud

text: In the second half of the 1950s Gielgud's career was in the doldrums as far as new plays were concerned. British theatre was moving away from the West End glamour of Beaumont's productions to more "" works. Olivier had a great success in John Osborne's "The Entertainer" in 1957, but Gielgud was not in tune with the new wave of writers. He remained in demand as a Shakespearean, but there were few new plays suitable for him. He directed and played the lead in Coward's "Nude with Violin" in 1956, which was dismissed by the critics as old-fashioned, though it ran for more than a year. He made two film appearances, playing a cameo comedy scene with Coward as a prospective manservant in Michael Anderson's "Around the World in 80 Days" (1956), and as the father of Elizabeth Barrett Browning in Sidney Franklin's 1957 remake of "The Barretts of Wimpole Street". He did not consider his performance as the tyrannical father convincing, and confessed that he undertook it only for the large fee ("it will set me up for a couple of years") and to keep him before the public in America, where he had not performed for over four years.


title: John Gielgud

text: During 1957 Gielgud directed Berlioz's "The Trojans" at Covent Garden and played Prospero at Drury Lane, but the production central to his career over the late 1950s and into the 1960s was his one-man show "The Ages of Man". He first appeared in this in 1956 and revived it every year until 1967. It was an anthology of Shakespearean speeches and sonnets, compiled by George Rylands, in which, wearing modern evening clothes on a plain stage, Gielgud recited the verses, with his own linking commentary. He performed it all over Britain, mainland Europe, Australasia and the US, including a performance at the White House in 1965. He found there were advantages to performing solo: "You've no idea how much easier it is without a Juliet. When there's a beautiful girl above you on a balcony, or lying on a tomb with candles round her, naturally the audience look at her the whole time, and Romeo has to pull out all the stops to get any attention." His performance on Broadway won him a Special Tony Award in 1959, and an audio recording in 1979 received a Grammy Award. He made many other recordings, both before and after this, including ten Shakespeare plays.


title: John Gielgud

text: Gielgud continued to try, without much success, to find new plays that suited him as an actor, but his direction of Peter Shaffer's first play, "Five Finger Exercise" (1958), received acclaim. While in the US for the Shaffer play, Gielgud revived "Much Ado About Nothing", this time with Margaret Leighton as his Beatrice. Most of the New York critics praised the production, and they all praised the co-stars. He gave his first performances on television during 1959, in Rattigan's "The Browning Version" for CBS and N. C. Hunter's "A Day by the Sea" for ITV. He appeared in more than fifty more plays on television over the next four decades.


title: John Gielgud

text: During the early 1960s Gielgud had more successes as a director than as an actor. He directed the first London performance of Britten's opera "A Midsummer Night's Dream" (1961) at Covent Garden and Hugh Wheeler's "Big Fish, Little Fish" on Broadway, the latter winning him a Tony for Best Direction of a Play in 1961. His performance as Othello at Stratford in the same year was less successful; Franco Zeffirelli's production was thought ponderous and Gielgud "singularly unvehement". As Gaev in "The Cherry Orchard" to the Ranevskaya of Ashcroft he had the best of the notices; his co-star and the production received mixed reviews. The following year Gielgud directed Richardson in "The School for Scandal", first at the Haymarket and then on a North American tour, which he joined as, in his words, "the oldest Joseph Surface in the business".


title: John Gielgud

text: In 1962 Gielgud met Martin Hensler (1932–99), an interior designer exiled from Hungary. He was temperamental, and Gielgud's friends often found him difficult, but the two became a long-term couple and lived together until Hensler's death. Under his influence Gielgud moved his main residence from central London to the South Pavilion of Wotton House at Wotton Underwood in Buckinghamshire.


title: John Gielgud

text: Gielgud received an Oscar nomination for his performance as King Louis VII of France in "Becket" (1964), with Richard Burton in the title role. Morley comments, "A minor but flashy role, this had considerable and long-lasting importance; his unrivalled theatrical dignity could greatly enhance a film." In 1964 Gielgud directed Burton in "Hamlet" on Broadway. Burton's performance received reviews ranging from polite to hostile, but the production was a box-office success, and a film was made of it. Gielgud finally began to take the cinema seriously, for financial and sometimes artistic reasons. He told his agent to accept any reasonable film offers. His films of the mid-1960s were in Tony Richardson's "The Loved One" (1965), which Croall termed a disaster despite later acclaim, and Orson Welles's Falstaff film, "Chimes at Midnight" (1966), which was unsuccessful at the time but has since been recognised as "one of the best, albeit most eccentric, of all Shakespearean movies", according to Morley.


title: John Gielgud

text: Much of Gielgud's theatre work in the later 1960s was as a director: Chekhov's "Ivanov" at the Phoenix in London and the Shubert in New York, Peter Ustinov's "Half Way Up the Tree" at the Queen's and Mozart's "Don Giovanni" at the Coliseum. One potentially outstanding acting role, Ibsen's Bishop Nicholas, fell through in 1967 when Olivier, with whom he was to co-star at the National Theatre in "The Pretenders", was ill. Gielgud played Orgon in "Tartuffe" and the title role in Seneca's "Oedipus" during the National's 1967–68 season, but according to Croall neither production was satisfactory. After this, Gielgud at last found a modern role that suited him and which he played to acclaim: the Headmaster in Alan Bennett's first play, "Forty Years On" (1968). The notices for both play and star were excellent. In "The Daily Telegraph" John Barber wrote, "Gielgud dominates all with an unexpected caricature of a mincing pedant, his noble features blurred so as to mimic a fussed and fatuous egghead. From the great mandarin of the theatre, a delicious comic creation."


title: John Gielgud

text: Having finally embraced film-making, Gielgud appeared in six films in 1967–69. His most substantial role was Lord Raglan in Tony Richardson's "The Charge of the Light Brigade". His other roles, in films including Michael Anderson's "The Shoes of the Fisherman" (1968) as a fictional pope and Richard Attenborough's "Oh! What a Lovely War" (1969) as Count Leopold Berchtold, were cameo appearances in character roles.


title: John Gielgud

text: In 1970 Gielgud played another modern role in which he had great success; he joined Ralph Richardson at the Royal Court in Chelsea in David Storey's "Home". The play is set in the gardens of a nursing home for mental patients, though this is not clear at first. The two elderly men converse in a desultory way, are joined and briefly enlivened by two more extrovert female patients, are slightly scared by another male patient, and are then left together, conversing even more emptily. The "Punch" critic, Jeremy Kingston, wrote:


title: John Gielgud

text: The play transferred to the West End and then to Broadway. In "The New York Times" Clive Barnes wrote, "The two men, bleakly examining the little nothingness of their lives, are John Gielgud and Ralph Richardson giving two of the greatest performances of two careers that have been among the glories of the English-speaking theater." The original cast recorded the play for television in 1972.


title: John Gielgud

text: In the first half of the decade Gielgud made seven films and six television dramas. Morley describes his choice as indiscriminate, but singles out for praise his performances in 1974 as the Old Cardinal in Joseph Losey's "Galileo" and the manservant Beddoes in Sidney Lumet's "Murder on the Orient Express". In a 1971 BBC presentation of James Elroy Flecker's "Hassan", Gielgud played the Caliph to Richardson's Hassan. The critic of "The Illustrated London News" said that viewers would "shiver at a towering performance by Gielgud, as a Caliph with all the purring beauty and ruthlessness of a great golden leopard". In the theatre Gielgud directed Coward's "Private Lives" and Somerset Maugham's "The Constant Wife" (both 1973, London and 1974, New York). His final production as a director was Pinero's "The Gay Lord Quex" (1975).


title: John Gielgud

text: Gielgud continued his long stage association with Richardson in Harold Pinter's "No Man's Land" (1975), directed by Hall at the National. Richardson played Hirst, a prosperous but isolated and vulnerable author, and Gielgud was Spooner, a down-at-heel sponger and opportunist. Hall found the play "extremely funny and also extremely bleak". The production was a critical and box-office success and, over a period of three years, played at the Old Vic, in the West End, at the Lyttelton Theatre in the new National Theatre complex, on Broadway and on television. In Julian Mitchell's "Half-Life" (1977) at the National, Gielgud was warmly praised by reviewers; he reprised the role at the Duke of York's Theatre in the West End in 1978 and on tour the following year.


title: John Gielgud

text: In the latter part of the decade Gielgud worked more for cinema and television than on stage. His film work included what Morley calls "his most embarrassing professional appearance", in "Caligula" (1979), Gore Vidal's story of Ancient Rome, spiced with pornographic scenes. In Gielgud's ten other films from this period, his most substantial role was Clive Langham in Alain Resnais' "Providence" (1977). Gielgud thought it "by far the most exciting film I have ever made". He won a New York Film Critics Circle award for his performance as a dying author, "drunk half the time ... throwing bottles about, and roaring a lot of very coarse dialogue". His other film parts included the Head Master of Eton in Jack Gold's "Aces High" (1976) and Tomlinson in Otto Preminger's "The Human Factor" (1979). For television his roles included Lord Henry Wotton in "The Picture of Dorian Gray" (1976), John of Gaunt in "Richard II" (1978) and Chorus in "Romeo and Juliet" (1978).


title: John Gielgud

text: In the 1980s Gielgud appeared in more than twenty films. Morley singles out as noteworthy "The Elephant Man" (1980), as the chairman of the Royal London Hospital, "Chariots of Fire" (1981), as the Master of Trinity College, Cambridge, "Gandhi" (1982), as Lord Irwin (the latter two winning Academy Awards as Best Picture), "The Shooting Party" (1984) and "Plenty" (1985), directed by David Lynch, Hugh Hudson, Richard Attenborough, Alan Bridges and Fred Schepisi respectively. Tony Palmer's "Wagner" (1983) was the only film in which Gielgud, Richardson, and Olivier played scenes together. Gielgud made cameo appearances in films of little merit, lending distinction while not damaging his own reputation. He told an interviewer, "They pay me very well for two or three days' work a month, so why not? It's nice at my age to be able to travel all over the world at other people's expense."


title: John Gielgud

text: Gielgud's most successful film performance of the decade was Steve Gordon's comedy "Arthur" (1981), which starred Dudley Moore as a self-indulgent playboy. Gielgud played Hobson, Moore's butler. He turned the part down twice before finally accepting it, nervous, after the "Caligula" débâcle, of the strong language used by the acerbic Hobson. He won an Oscar as Best Supporting Actor and other awards for the performance. He placed little value on awards, and avoided presentation ceremonies whenever he could: "I really detest all the mutual congratulation baloney and the invidious comparisons which they evoke."


title: John Gielgud

text: For television Gielgud played nineteen roles during the 1980s; they included Edward Ryder in an eleven-part adaptation of Waugh's "Brideshead Revisited" (1982). "The Times" said that he gave the role "a desolate and calculated malice which carries almost singlehandedly [the] first two episodes". Near the end of the decade, Gielgud was nominated for a Primetime Emmy Award for his role as Aaron Jastrow, a Jewish professor murdered in the Holocaust, in the mini-series "War and Remembrance". At the decade's end he played a rakish journalist, Haverford Downs, in John Mortimer's "Summer's Lease", for which he won an Emmy Award after its 1991 American broadcast.


title: John Gielgud

text: Gielgud's final West End play was Hugh Whitemore's "The Best of Friends" (1988). He played Sir Sydney Cockerell, director of the Fitzwilliam Museum, in a representation of a friendship between Cockerell, Bernard Shaw and Laurentia McLachlan, a Benedictine nun. Gielgud had some trouble learning his lines; at one performance he almost forgot them, momentarily distracted by seeing in a 1938 copy of "The Times", read by his character, a review of his own portrayal of Vershinin in "Three Sisters" fifty years earlier.


title: John Gielgud

text: In 1990 Gielgud made his last film appearance in a leading role, playing Prospero in "Prospero's Books", Peter Greenaway's adaptation of "The Tempest". Reviews for the film were mixed, but Gielgud's performance in one of his signature roles was much praised. He continued to work on radio, as he had done throughout his career; Croall lists more than fifty BBC radio productions of plays starring Gielgud between 1929 and 1994. To mark his ninetieth birthday he played Lear for the last time; for the BBC Kenneth Branagh gathered a cast that included Judi Dench, Eileen Atkins and Emma Thompson as Lear's daughters, with actors such as Bob Hoskins, Derek Jacobi and Simon Russell Beale in supporting roles. He continued to appear on television until 1994; his last role in the medium was in a BBC production that year of J. B. Priestley's rarely-revived "Summer Day's Dream". Subsequently, he made further cameo appearances in films including Branagh's "Hamlet" (as King Priam, 1996), "Dragonheart" (as the voice of King Arthur, 1996), and "Shine" (as Cecil Parkes, 1996). His last feature film appearance was as Pope Pius V in Shekhar Kapur's "Elizabeth" (1998). In 2000 he had a non-speaking role alongside Pinter in a film of Beckett's short play "Catastrophe" directed by David Mamet.


title: John Gielgud

text: Gielgud's partner, Martin Hensler, died in 1999. After this, Gielgud went into a physical and psychological decline; he died at home on 21 May the following year, at the age of 96. At his request there was no memorial service, and his funeral at All Saints' Church, Wotton Underwood was private, for family and close friends.


title: John Gielgud

text: Gielgud's state honours were Knight Bachelor (1953), Legion of Honour (France, 1960), Companion of Honour (1977), and Order of Merit (UK, 1996). He was awarded honorary degrees by St Andrews, Oxford and Brandeis universities.


title: John Gielgud

text: From 1977 to 1989 Gielgud was president of the Royal Academy of Dramatic Art – a symbolic position – and was the academy's first honorary fellow (1989). In 1996 the Globe Theatre in Shaftesbury Avenue was renamed the Gielgud Theatre. He had not acted on stage for eight years, and felt out of touch with the West End: he commented on the renaming of the theatre, "At last there is a name in lights on the Avenue which I actually recognise, even if it is my own."


title: John Gielgud

text: Gielgud was uninterested in religion or politics. As a boy he had been fascinated by the rituals at Westminster Abbey, but his brief attraction to religion quickly faded, and as an adult he was a non-believer. His indifference to politics was illustrated at a formal dinner not long after the Second World War when he asked a fellow guest, "Whereabouts are you living now?", unaware that, as he was talking to Clement Attlee, the answer was "10 Downing Street". In his "Who's Who" entry Gielgud listed his hobbies as music and painting, but his concentration on his work, which Emlyn Williams called fanatical, left little scope for leisure activities. His dedication to his art was not solemn. The critic Nicholas de Jongh wrote that Gielgud's personality was "such infinite, mischievous fun", and Coward's biographer Cole Lesley recalled the pleasure of Gielgud's company, "the words tumbling out of his mouth in an avalanche, frequently having to wipe away his own tears of laughter at the funniness of the disasters he recounted, disasters always against himself".


title: John Gielgud

text: Together with Richardson and Olivier, Gielgud was internationally recognised as one of the "great trinity of theatrical knights" who dominated the British stage for more than fifty years during the middle and later decades of the 20th century. The critic Michael Coveney wrote, for Gielgud's ninety-fifth birthday:


title: John Gielgud

text: In an obituary in "The Independent" Alan Strachan, having discussed Gielgud's work for cinema, radio and television, concluded that "any consideration of Gielgud's rich and often astonishing career must return to the stage; as he wrote at the close of "An Actor and his Time" (1979), he saw the theatre as 'more than an occupation or a profession; for me it has been a life'."


title: Schnauzer

text: A Schnauzer (), plural "Schnauzer", lit. translation "snouter") is a dog breed type that originated in Germany from the 14th to 16th centuries. The term comes from the German word for "snout" and means colloquially "moustache", or "whiskered snout", because of the dog's distinctively bearded snout. Initially it was called Wire-Haired Pinscher, while Schnauzer was adopted in 1879.


title: Schnauzer

text: There are three breeds: the Standard, the Giant, and the Miniature. Toy and teacup are not breeds of Schnauzer, but these common terms are used to market undersized or ill-bred Miniature Schnauzers. The original Schnauzer was of the same size as the modern Standard Schnauzer breed and was bred as a rat-catcher and guard dog. The Giant Schnauzer and the Miniature Schnauzer were developed from the Standard Schnauzer and are the result of outcrosses with other breeds exhibiting the desirable characteristics needed for the Schnauzer's original purpose. By the VDH and FCI Schnauzer is placed in "Group 2, Section 1: Pinschers and Schnauzers", with "Nr. 181, 182 and 183" in "Section 1.2: Schnauzer" dedicated to all three Schnauzer breeds.


title: Schnauzer

text: In a 2004, population genetics study of 85 purebred dogs, which used cluster-based methods with four identified genetic clusters, all three Schnauzer breeds structurally mostly clustered within "recent European descent, largely terriers and hounds" cluster, with less percent within "working breeds" and "mastiff-type breeds" clusters, while the "Asian breeds/ancient hounds and spitz-type breed" cluster was present among Giant Schnauzers. In a 2007 Collie eye anomaly study of 638 dogs from 132 distinct breeds, with five specimens of each Schnauzer breed size, in the population structure of the microsatellite analysis they mostly clustered in the "hunting group" rather than the "mastiff/terrier group". In a 2010 GWAS study using more than 48,000 single-nucleotide polymorphisms of 915 dogs from 85 breeds, Standard and Giant Schnauzers made a separate phylogenetic tree branch clustered among "modern" breeds (i.e. "working dogs"), and not the "small terrier"/"mastiff-terrier" cluster, sharing genetic closeness with the Doberman Pinscher, the German Shepherd Dog and the Portuguese Water Dog. In the most recent 2017 WGS study of 1,346 dogs from 161 breeds, Standard and Miniature Schnauzers made one separate phylogenetic clade of 23 clades and formed a unique broader clade in which they share common ancestry with spitz-type breeds such as the American Eskimo Dog, the Pomeranian and the Volpino Italiano, as well as the Schipperke, the Papillon, the Brussels Griffon and the Pug. Although the Giant Schnauzer shares a haplotype with the other two Schnauzer breeds, it made a phylogentic node in a separate clade, sharing common ancestry with the Black Russian Terrier, the Rottweiler and the Doberman Pinscher. In another 2017 WGS study researching the genetic variants for the development of short tails among dog breeds, the sampled (Miniature) Schnauzer and Rottweiler have "short tail phenotype caused by the unknown genetic factors" and "are predicted to have developed short tail independently".


title: Schnauzer

text: The breed is of above average intelligence and can be independent minded, so early training and diverse daily exercise are recommended. Based on Stanley Coren's book "The Intelligence of Dogs" (2006) ranking methodology, the Miniature ranked 12th, Standard 18th, and Giant 28th out of 140 breeds within 79 ranks on the ability to learn and obey new commands i.e. working and obedience intelligence. The first two were grouped among "excellent working dogs", while the Giant among "above-average working dogs". Additionally, experts ranked the Miniature as 5th among top 15 breeds at watchdog barking ability, the Giant as 6th among top 13 breeds at effective guard ability, while in adaptive intelligence all three breeds showed good problem-solving abilities. They are protective and energetic, and will alert members of the household to any potential danger, although its watchful nature can lead to persistent barking. To avoid annoying the neighbors, dog owners should make every effort to curb excessive barking through training.


title: Schnauzer

text: Schnauzers have distinctive beards and long, feathery eyebrows. They are generally either a salt and pepper colour, black, or white, but they can be brown also. Some owners shave their Schnauzers down the back while the hairs on their legs are kept long and curly, but this may change the coat colour, so show Schnauzers especially will have their back coat "stripped" by hand, to encourage the salt and pepper pattern to emerge. It was traditional to have the tails docked and the ears cropped to give an alert appearance but in many countries it is now illegal. For working dogs that are ratters, these procedures don't give the rat anything to grab on to when being attacked and therefore cannot fight back. Cropping and docking are now illegal in the European Union, Australia, and New Zealand, and are becoming less common elsewhere. The Schnauzer's beard and leg hair should be brushed often to prevent mats from forming.


title: Schnauzer

text: Schnauzers have a double coat. The top or guard coat is wiry and water-resistant, while the undercoat is soft. Stripping removes the undercoat and stimulates the hard top coat to come in fuller. The undercoat may be "stripped" (loose, dead hair is plucked) at least twice a year. A stripped Schnauzer will have a hard wiry coat as described in the breed standard. A shaved pet will lose the wiry top coat and only exhibit the soft undercoat. Schnauzers shed less often than most dogs.


title: Public administration

text: Public Administration (a form of governance) or Public Policy and Administration (an academic discipline) is the implementation of public policy, administration of government establishment (public governance), management of non-profit establishment (nonprofit governance), and also a subfield of political science taught in public policy schools that studies this implementation and prepares civil servants, especially those in administrative positions for working in the public sector, voluntary sector, some industries in the private sector dealing with government relations and regulatory affairs, and those working as think tank researchers. As a "field of inquiry with a diverse scope" whose fundamental goal is to "advance management and policies so that government can function." Some of the various definitions which have been offered for the term are: "the management of public programs"; the "translation of politics into the reality that citizens see every day"; and "the study of government decision making, the analysis of the policies themselves, the various inputs that have produced them, and the inputs necessary to produce alternative policies." The word public administration is the combination of two words—public and administration. In every sphere of social, economic and political life there is administration which means that for the proper functioning of the organization or institution it must be properly ruled or managed and from this concept emerges the idea of administration.


title: Public administration

text: In the United States, the civil employees and academics such as Woodrow Wilson promoted civil service reform in the 1880s, moving public administration into academia. However, "until the mid-20th century and the dissemination of the German sociologist Max Weber's theory of bureaucracy" there was not "much interest in a theory of public administration". The field is multidisciplinary in character; one of the various proposals for public administration's sub-fields sets out six pillars, including human resources, organizational theory, policy analysis, statistics, budgeting, and ethics.


title: Public administration

text: Public administration is a segment of the larger field of administration. It is simply regarded as bureaucracy, heedless to the fact that bureaucracy as a particular organizational form is not only found in the government, but also in private and third sector organizations.(Dhameja,2003, p.2). Public Administration is a discipline which is concerned with the organization and the formulation and implementation of public policies for the welfare of the people. It functions in a political setting in order to accomplish the goals and objectives, which are formulated by the political decision makers. The focus of public administration, thus, is on public bureaucracy. The subject got its major boost after the Minnowbrook conference held at Syracuse university in the year 1968, presided over by Dwight Waldo. It was this time when the concept of New Public Administration emerged.


title: Public administration

text: Public Administration is not only known as merely a form of governance or the implementation of public policy but the overall process on how well people residing within the State are manage as a whole. From the word itself, "Public" concerning the people; open to all members of a community, especially, provided by national or local authorities and supported by money from taxes. And "Administration" which is the management of any office, business, or organization; a form of direction or nearly within reach, the function of a political state in exercising its governmental duties.


title: Public administration

text: In 1947 Paul H. Appleby defined public administration as "public leadership of public affairs directly responsible for executive action". In a democracy, it has to do with such leadership and executive action in terms that respect and contribute to the dignity, the worth, and the potentials of the citizen. One year later, Gordon Clapp, then Chairman of the Tennessee Valley Authority defined public administration "as a public instrument whereby democratic society may be more completely realized." This implies that it must "relate itself to concepts of justice, liberty, and fuller economic opportunity for human beings" and is thus "concerned with "people, with ideas, and with things". According to James D. Carroll & Alfred M. Zuck, the publication by "Woodrow Wilson of his essay, "The Study of Administration" in 1887 is generally regarded as the beginning of public administration as a specific field of study".


title: Public administration

text: Drawing on the democracy theme and discarding the link to the executive branch, Patricia M. Shields asserts that public administration "deals with the stewardship and implementation of the products of a living democracy". The key term "product" refers to "those items that are constructed or produced" such as prisons, roads, laws, schools, and security. "As implementors, public managers engage these products." They participate in the doing and making of the "living" democracy. A living democracy is "an environment that is changing, organic", imperfect, inconsistent and teaming with values. "Stewardship is emphasized because public administration is concerned "with accountability and effective use of scarce resources and ultimately making the connection between the doing, the making and democratic values".