text: Taoist

text: kung fu

text: Liuhebafa

text: qi

text: Daoyin

text: Zhuangzi

text: qigong

text: internal alchemical cultivation

text: Five Dynasties and Ten Kingdoms period

text: Song Dynasty

text: Luyi

text: Henan Province

text: Zhenyuan

text: Haozhou

text: Anhui

text: Nine Room Cave

text: Mount Wudang

text: Later Zhou Dynasty

text: Mount Hua

text: sacred mountains of China

text: Confucian

text: Yi jing

text: River Chart

text: Luo River Book

text: Taiji

text: Emperor Taizong of the Song Dynasty

text: Mount Hua

text: Yue Fei

text: Chan Yik Yan

text: Wu Yi Hui

text: History of Liuhebafa and Chen Xiyi

text: Taoist Culture & Information Center

categories: Five Dynasties and Ten Kingdoms Taoists,Song dynasty Taoists,989 deaths,Year of birth unknown

paragraph: Chen Tuan

paragraph: Chen Tuan 陳摶 (d. 989) was a Taoist sage credited with creation of the kung fu system Liuhebafa ("Six Harmonies and Eight Methods"). Along with this internal art, he is also said to be associated with a method of qi (energy) cultivation known today as Taiji ruler and a 24-season Daoyin method ("ershisi shi daoyin fa") using seated and standing exercises designed to prevent diseases that occur during seasonal changes throughout the year.

paragraph: Section::::Name and titles.

paragraph: The character "Tuan" (摶) is sometimes confused with the very similar-looking character "Bo" (搏), thus the name is sometimes incorrectly romanized as Chen Bo or Chen Po. In Chinese, he is often respectfully referred to as "Aged Ancestor Chen Tuan" (陳摶老祖 Chén Tuán Lǎozǔ) and "Ancestral Teacher Xiyi" (希夷祖師 Xīyí Zǔshī).

paragraph: Chen Tuan, styled Tunan, titled himself Fuyao Zi (one soaring upward in the high sky, from Nan Hua Jing written by Zhuangzi).

paragraph: Known as the "Sleeping Immortal", he is credited with using and creating sleeping qigong methods of internal alchemical cultivation.

paragraph: Section::::Biography and legends.

paragraph: Little is certain about his life, including when and where he was born. He was born around the end of the Five Dynasties and Ten Kingdoms period (907 AD - 960 AD) and the start of the Song Dynasty (960 AD - 1279 AD), possibly in what is now Luyi in Henan Province. By another account, he was born in Zhenyuan of Haozhou (today's Anhui Province).

paragraph: Chen is said to have been astonishingly intelligent and erudite in his childhood.

paragraph: According to certain Taoist schools who claim him as a founder, he lived two decades of a secluded life in the Nine Room Cave on Mount Wudang, though traveled frequently. In the first year of Xiande Period of Later Zhou Dynasty (954) he is known to have been living on the Mount Hua, one of the five sacred mountains of China.

paragraph: The story goes that Chen Tuan had planned a career at the Imperial court, but flunked the state examination and became a hermit sage instead. Thus, as a student he was conversant with the Confucian classics, history, and the theories of various schools of thought. Among the Confucian classics, he was particularly fond of the "Yi jing" (Book of Changes), which he was unable to put down. Apart from the classics, he was said to be conversant with medical principles, astronomy and geography, and famous for his poems as well.

paragraph: Chen Tuan had a good command of primordial Yi learning, taught the River Chart and Luo River Book as well as the Infinite and Taiji Charts. As an important teacher of Taoist doctrines who pioneered the Confucian school of idealist philosophy of the Song and Ming Dynasties, he had a profound influence upon later generations.

paragraph: Having rejected the emperor's orders and edicts, he was still conferred the title of "Master Xi Yi" (Master of the Inaudible and Invisible) by the Emperor Taizong of the Song Dynasty. During the first year of Duangong Period (988), Chen appointed his disciples to cut a stone chamber in the Zhao Chao Valley (later renamed Xi Yi Valley); then Chen Tuan presented a report to the imperial court in which he wrote the following note: "I will die soon. I am about to leave, nowadays I’m transformed in the Zhang Chao Valley at the foot of Lotus Peak on the 27th day of the tenth month of the lunar calendar." By the time he died when he cupped his cheek in his hand his facial features remained unchanged.

paragraph: Many tales of Chen Tuan have been circulated around and it is said that "He wanders around and shows no concern for worldly benefits." However, despite many mystical and mysterious stories, Chen was known to care about and was compassionate to ordinary people. For this he is deeply respected by the common folk. This Taoist sage was considered the embodiment of the Supreme Lord Lao and received the nickname of "Aged Ancestor," a symbol of Taoism in Mount Hua.

paragraph: Section::::Later historical references.

paragraph: According to the "semi-historical" biography of General Yue Fei, it was the immortal Chen Tuan who, disguised as a wandering Taoist, warned the Yue Family of the imminent Yellow River flood.

paragraph: Section::::Sources.

paragraph: BULLET::::- General Yue Fei

paragraph: Section::::See also.

paragraph: BULLET::::- Chan Yik Yan

paragraph: BULLET::::- Wu Yi Hui

paragraph: Section::::External links.

paragraph: BULLET::::- History of Liuhebafa and Chen Xiyi

paragraph: BULLET::::- www.liuhopafa.com

paragraph: BULLET::::- Taoist Culture & Information Center

paragraph: BULLET::::- Plexus-Plus: Myth becomes Historical Artifact

description: Chinese Taoist sage

wikidata_label: Chen Tuan

wikipedia_title: Chen Tuan


text: Auschwitz

text: Holocaust

text: Karen Levine

text: Prague

text: Nové Město na Moravě

text: Moravian-Silesian Region

text: Nazi Germany

text: Protectorate of Bohemia and Moravia

text: Nuremberg laws

text: George

text: Theresienstadt concentration camp

text: Auschwitz concentration camp

text: labourer

text: non-profit

text: Tokyo

text: Holocaust

text: concentration camp

text: Canada

text: CBC

text: George Brady

text: Auschwitz

text: Bank Street College of Education

text: Governor General's Award

text: Yad Vashem

text: George Brady

text: Jerusalem

text: Hebrew

text: Holon

text: Anne Frank

text: Yad Vashem

text: Anti-Semitism

text: Petr Ginz

text: Family website

text: Radio Praha

text: Suitcase tells Holocaust story

categories: Jewish children who died in the Holocaust,Czech children,1931 births,1944 deaths,Czech Jews who died in the Holocaust,Children who died in Nazi concentration camps,People killed by gas chamber by Nazi Germany,People from Nové Město na Moravě,Czech people who died in Auschwitz concentration camp,Theresienstadt Ghetto prisoners,Czechoslovak civilians killed in World War II

paragraph: Hana Brady

paragraph: Hanička "Hana" Brady (born Hana Bradyová; 16 May 1931 – 23 October 1944) was a Czechoslovakian Jewish girl murdered in the gas chambers at German concentration camp of Auschwitz, located in the occupied territory of Poland, during the Holocaust. She is the subject of the 2002 non-fiction children's book "Hana's Suitcase", written by Karen Levine.

paragraph: Section::::Biography.

paragraph: Hana Brady was born on 16 May 1931 in Prague, the daughter of Markéta (née Dubsky) and Karel Brady. Her family lived in Nové Město na Moravě in the Moravian-Silesian Region of Czechoslovakia. After the occupation of the whole of Czechoslovakia by Nazi Germany and the creation of the Protectorate of Bohemia and Moravia on 15 March 1939, the discriminatory Nuremberg laws began to be applied in this territory. Eight-year-old Hana and her older brother George (born Jiří Brady) watched their parents being arrested and taken away by the Nazis, and never saw them again. Hana and George were sent to the Theresienstadt concentration camp. In 1944, Hana was deported to the Auschwitz concentration camp. While her brother survived by working as a labourer, Hana was sent to the gas chambers a few hours after her arrival on 23 October 1944.

paragraph: Section::::"Hana's Suitcase".

paragraph: The story of Hana Brady first became public when Fumiko Ishioka (石岡史子, "Ishioka Fumiko"), a Japanese educator and director of the Japanese non-profit Tokyo Holocaust Education Resource Center, exhibited Hana's suitcase in 2000 as a relic of the concentration camp. Visiting Auschwitz in 1999, Ishioka requested a loan of children's items, things that would convey the story of the Holocaust to other children.

paragraph: brThe suitcase turned out to be a very capable means of telling the story of the Holocaust, reaching out to children at their level.

paragraph: The suitcase has large writing on it, a name and birthdate and the German word, "Waisenkind" (orphan). Ishioka began painstakingly researching Hana's life and eventually found her surviving brother in Canada. The story of Hana Brady and how her suitcase led Ishioka to Toronto became the subject of a CBC documentary. Karen M. Levine (born 1955), the producer of that documentary, was urged to turn the story into a book by a friend who was a publisher and whose parents were Holocaust survivors. Said Levine:

paragraph: I first read about Hana's suitcase in December 2000. I read about Hana's suitcase in "The Canadian Jewish News". My heart started to beat. I fell in love with the story instantly. This was a different kind of Holocaust story. It had at its centre a terrible sadness, one we all know too well. But it had a modern layer to it that lifted it up, that had connection, and even redemption.

paragraph: In February 2004, Lara Brady, Hana's niece, discovered inconsistencies between the suitcase on display and the suitcase pictured with Hana's friend after the war in the 1960s. Not only did the physical suitcase appear newer than in the photographs, but the location of the handle was also reversed. In March, Fumiko and George Brady inquired about the suitcase with the director of the Auschwitz museum, who explained that a replica had been created based on the pictures after the original suitcase was destroyed in a fire in 1984, while on loan to an English exhibit in Birmingham. This fire was likely caused by arson (according to the director and police at the time.).

paragraph: As the museum personnel had omitted this fact when they loaned it to the Tokyo Holocaust Education Resource Center, the fact that the suitcase was a replica had gone unnoticed for several years. The family and the Center assert that even as such, the replica's contribution to the cause of human rights and peace education is not lessened by its lack of authenticity.

paragraph: Section::::"Hana's Suitcase".:Awards and recognition.

paragraph: The 2002 book became a bestseller and received the Bank Street College of Education Flora Stieglitz Straus Award for non-fiction, the National Jewish Book Award, and several other Canadian awards for children's literature. The book received a nomination for the Governor General's Award and was selected as a final award candidate for the Norma Fleck award. It has been translated into over 20 languages and published around the world. In October 2006, the book won the Yad Vashem award, presented to George Brady at a ceremony in Jerusalem.

paragraph: Section::::"Hana's Suitcase".:Adaptations.

paragraph: A play based on the book was written by Emil Sher. A film, "Inside Hana's Suitcase", appeared in 2009. The suitcase featured in the CBC documentary was not the original, but a replica. The real suitcase, on loan, was destroyed by neo-Nazi arsonists, who set fire to a warehouse in Birmingham, England, in 1984. In 2011, a Hebrew version of the play was staged by the Nephesh Theater in Holon, Israel.

paragraph: Section::::See also.

paragraph: BULLET::::- Anne Frank

paragraph: BULLET::::- Yad Vashem

paragraph: BULLET::::- Anti-Semitism

paragraph: BULLET::::- Petr Ginz

paragraph: Section::::External links.

paragraph: BULLET::::- Family website

paragraph: BULLET::::- Radio Praha

paragraph: BULLET::::- Tokyo Holocaust Education Resource Center

paragraph: BULLET::::- Suitcase tells Holocaust story at www.enquirer.com

paragraph: BULLET::::- – largely "Hana's Suitcase" in English, in translation, in adaptation

alias:
Hana Bradyová
Hanička Bradyová
Hany Bradové
Hana Bradyova
Hany Bradove

description: Czech holocaust victim

wikidata_label: Hana Brady

wikipedia_title: Hana Brady


text: East German

text: luge

text: FIL World Luge Championships

categories: 1945 births,German female lugers,Living people

paragraph: Petra Tierlich

paragraph: Petra Tierlich, born 25 February 1945, is an East German luger who competed in the 1960s. She won three medals in the women's singles event at the FIL World Luge Championships with a gold in 1969 and two silvers in 1965 and 1967.

paragraph: Section::::References.

paragraph: BULLET::::- SportQuick.com information on World champions in luge

description: luger

wikidata_label: Petra Tierlich

wikipedia_title: Petra Tierlich


text: public works

text: Toledo

text: Madrid

text: Michelangelo

text: Pope Paul III

text: Palazzo Farnese

text: Antonio da Sangallo the Younger

text: Antonio da Sangallo the Younger

text: Florence

text: St. Peter’s Basilica

text: El Escorial

text: cornerstone

text: Juan de Herrera

text: Paul III

text: St. Peter's Basilica

text: Michelangelo

text: Labacco

text: Paul III

text: patron

text: Viceroy

text: Pedro Álvarez de Toledo

text: Naples

text: Naples

text: Castello Nuovo

text: Posillipo

text: Sant'Elmo

text: Madrid

text: Toledo

text: Philip II

text: Madrid

text: ducats

text: Alcazar de Toledo

text: Descalzas Reales

text: Casa de Campo

text: Palacio de Aranjuez

text: El Escorial

text: El Escorial

text: El Escorial

text: La Granjilla de La Fresneda

text: Monastery

text: Juan de Herrera

text: El Escorial

text: La Granjilla de La Fresneda

text: Gaspar de Vega

text: Juan de Herrera

text: fray Marcos de Cardona

text: Petre Janson

text: Juanelo Turriano

text: Philip II

text: Philip II of Spain

text: El Escorial, Madrid

text: Juan de Herrera

text: San Lorenzo de El Escorial, Madrid

text: Valle de los Caídos

text: Juan Bautista de Toledo

text: COPYRIGHT IN THE RENAISSANCE

text: Farnese Palace

categories: 16th-century Spanish architects,1567 deaths,Italian Renaissance architects,Renaissance architects,Spanish Renaissance people,Spanish sculptors,1510s births

paragraph: Juan Bautista de Toledo

paragraph: Juan Bautista de Toledo (c. 1515 – 19 May 1567) was a Spanish architect. He was educated in Italy, in the Italian High Renaissance. As many Italian renaissance architects, he had experience in both architecture and military and civil public works. Born, either in Toledo or in Madrid around 1515. He died on 19 May 1567 in Madrid, and was buried in Madrid in the choir of the primitive “Convento de Santo Tomás, Iglesia de la Santa Cruz”.

paragraph: Section::::Career.

paragraph: Perhaps he started his career in architecture in Rome, between 1534 and 1541, working for Michelangelo and Pope Paul III (Alessandro Farnese), completing the courtyard of Palazzo Farnese. Then, possibly, he continues his training in the construction site of St. Peter's, under the direction of Antonio da Sangallo the Younger. Another hypothesis is that he worked for Antonio da Sangallo the Younger in both Fortaleza da Basso, Florence and St. Peter’s Basilica of Rome.

paragraph: Juan Bautista de Toledo, an enigmatic and puzzling personality, was known in Florence and Rome as Giovanni Battista de Alfonsis. However, in Naples and Madrid, he was identified as Juan Bautista de Toledo: both Spanish architects had the same hand writing. Perhaps, his true name was Juan Bautista de Toledo Alfonsis.

paragraph: Section::::El Escorial.

paragraph: In El Escorial, his most significant job, on 23 April 1563, in the ceremony of the masonry stone (cornerstone), Juan de Herrera wrote over the visible side of the first stone, "JOANNES BAPTISTA ARCHITECTUS MAJOR. APRILES 23". In the other sides of the first stone, the inscriptions are: in one side, "DEUS OPTIMUS MAXIMUS OPERO ASPICIAT"; and in the other side, "PHILIPUS HISPANIARUM REX A FUNDAMENTIS ERIXIR −1563": "En 23 dias del mes de abril, dia de San Jorge mártir, deste año de 1563 se puso la primera piedra del monasterio en el cimiento del reflectorio, debajo de la silla del prior, que es en la bodega, debajo del dicho reflectorio, la cual piedra es cuadrada y está escrita por todas partes, que da a entender quien es el fundador, y quien es el arquitecto y el día y año en que se pone".

paragraph: On 18 December 1546 Pope Paul III appointed the Spaniard Joannes Baptista, Deputy Coordinator Architect for St. Peter's Basilica of Rome: "Similis deputatio pro Joanne Bapta. Hispano". On 26 February 1947 “Michelangelo (…) informed the Florentine mason master Niccolo that he was to follow the orders of Giovanni Battista de Alfonsis, his personal choice as successor of Labacco(…)”.

paragraph: Before, Paul III, his patron, died in 1549, on 20 September 1548, summoned by the Viceroy Pedro Álvarez de Toledo Giovanni Battista de Alfonsis went to Naples to work under the name of "Juan Bautista de Toledo" in the position of "Maestro Mayor de Obras Reales en el Reino de Nápoles".

paragraph: In Naples, he designed and rebuilt many buildings, including: the Strada di Toledo (since 1870 called Strada di Roma), the church of St. Giacomo degli Spagnuoli; the square bastions to the Castello Nuovo; a large palazzo at Posillipo, the fortress of Sant'Elmo; and several fountains.

paragraph: In 1559, he was appointed Maestro Mayor de Obras Reales (maily in Madrid and Toledo) by Philip II and summoned back to Madrid. His yearly salary was at first no more than 220 ducats, because Philip's policy, with his Spanish artists at least, was to give them moderate allowances until he had tested their abilities.

paragraph: He restored the Alcazar de Madrid, Alcazar de Toledo and Convento de los Jerónimos de Madrid. He designed the frontage of the church de las Descalzas Reales He also performed architectural and public works in Casa de Campo de Madrid, Casa Real de Aceca and Palacio de Aranjuez.

paragraph: In 1561, he was appointed "Arquitecto Real" responsible for the town planning of El Escorial: Monastery, El Escorial village and La Granjilla. In other words, “El Escurial (the name of El Escorial (village) in the 16th century) Monastery and Site: the inscription of El Escorial in the World Heritage List of UNESCO.

paragraph: He supervised architectural and public works in El Escorial (village), the surroundings of El Escorial (monastery) and La Granjilla de La Fresneda until his death in 1567. The Monastery was finished by Juan de Herrera in 1584.

paragraph: The main public works in the town planning of El Escorial were the Aqueduct and Ponds of La Granjilla, the Aqueduct to the Monastery and the two streets joining El Escorial (village) to the Monastery and La Granjilla. El Escorial of Juan Bautista de Toledo and Juan de Herrera is an example of territorial development based on exclusive aesthetic values of global significance.

paragraph: Furthermore, he designed the overall outline of La Granjilla de La Fresneda. The project was finished with the collaboration of architects, Gaspar de Vega and Juan de Herrera; gardener fray Marcos de Cardona; Furthermore, Dutch dams experts Petre Janson and Spond. Still to be investigated the participation of Juanelo Turriano, Hydraulic Engineer of Philip II.

paragraph: Section::::See also.

paragraph: BULLET::::- Philip II of Spain

paragraph: BULLET::::- El Escorial, Madrid

paragraph: BULLET::::- La Granjilla de La Fresneda de El Escorial, Madrid

paragraph: BULLET::::- Juan de Herrera

paragraph: BULLET::::- San Lorenzo de El Escorial, Madrid

paragraph: BULLET::::- Valle de los Caídos

paragraph: Section::::External links.

paragraph: BULLET::::- Michelangelo at St. Peter’s: The Arberino Correspondence (article)

paragraph: BULLET::::- Michelangelo at St. Peter’s: The Arberino Correspondence (comments)

paragraph: BULLET::::- Juan Bautista de Toledo

paragraph: BULLET::::- Juan Bautista de Toledo (Giovanni Battista de Alfonsis) collaborating with Antonio da Sangallo the Younger in Florence

paragraph: BULLET::::- COPYRIGHT IN THE RENAISSANCE

paragraph: BULLET::::- HISTORIA DEL REAL MONASTERIO DE SAN LORENZO

paragraph: BULLET::::- Farnese Palace

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Los verdaderos artífices de El Escorial y el estilo indebidamente llamado Herreriano | Portabales Pichel, Amancio | Madrid 1945.

paragraph: BULLET::::- Maestros mayores, arquitectos y aparejadores de El Escorial | Portabales Pichel, Amancio | Madrid 1945.

paragraph: BULLET::::- Juan Bautista de Toledo, arquitecto segundo de la fábrica de San Pedro de Roma | Carlos Vicuña OSA, Monasterio del Escorial | 1966.

paragraph: BULLET::::- Juan Bautista de Toledo y Miguel Ángel en el Vaticano | Severino Giner Guerri | Goya, nº 126.

paragraph: BULLET::::- Juan Bautista de Toledo y Felipe II: la implantación del clasicismo en España | Rivera Blanco, José Javier | Universidad de Valladolid 1984.

paragraph: BULLET::::- Juan de Herrera, arquitecto de Felipe II | Ruiz de Arcaute, Agustín | Madrid 1997.

paragraph: BULLET::::- Juan de Herrera: arquitecto de Felipe II | Wilkinson-Zerner, Catherine | 1996.

paragraph: BULLET::::- Copyright in the Renaissance: Prints and the Privilegio in Sixteenth-Century Venice and Rome | Christopher L.C.E. Witcombe | 2004.

paragraph: BULLET::::- Michelangelo at St. Peter's: The Arberino Correspondence | Howard Saalman.

paragraph: BULLET::::- Architectural Drawings of Antonio Da Sangallo the Younger and His Circle: Fortifications, Machines and Festival Architecture | Vol 1 | Christoph L. Frommel, Nicholas Adams (Eds.) | February 1994 |The MIT Press.

paragraph: BULLET::::- Architectural Drawings of Antonio Da Sangallo the Younger and His Circle: Churches, Villas, the Pantheon, Tombs, and Ancient Inscriptions | Vol 2 | Christoph L. Frommel, Adams Nicholas (Eds.) | September 2000 |The MIT Press.

paragraph: BULLET::::- Unpublished paper of Agustin Bustamante Garcia (UAM: Universidad Autónoma de Madrid) on Juan Bautista de Toledo (Giovanni Battista de Alfonsis) at Florence.

paragraph: BULLET::::- Las tres primeras piedras del Monasterio de San Lorenzo el Real de El Escorial | Pedro Martín Gómez | Homenaje a Juan de Herrera | Fundación Obra Pía "Juan de Herrera | Santander | 1988.

paragraph: BULLET::::- Meorias | Fray Juan de San Gerónimo | Colección de Documentos Inéditos para la Historia de España, tomo VII | Madrid | 1845.

paragraph: BULLET::::- Historia de la Orden de San Jerónimo | Fray José de Sigüenza | Madrid | 1605.

paragraph: BULLET::::- Los orígenes arquitectónicos del Real Monasterio de El Escorial | Secundino Zuazo Ugalde, | Discurso de ingreso en la Real Academia de Bellas Artes de San Fernando | Madrid, 1948.

paragraph: BULLET::::- La obra de El Escorial | George Kubler | Madrid, 1982.

paragraph: References [editar]

alias:
Giovanni Battista de Alfonsis
Juan Bautista de Alfonso
Juan Bautista Alfonsis
Juan Bautista Alfonsi
El Valiente Español
Juan Bautista Alfonso
Juan Bautista de Toledo de Alfonsis
Juan Bautista De Toledo

description: Spanish artist

wikidata_label: Juan Bautista de Toledo

wikipedia_title: Juan Bautista de Toledo


text: Catholic

text: bishop

text: United States

text: Diocese of Pueblo

text: Colorado

text: Miles City, Montana

text: University of Colorado

text: Eastern New Mexico University

text: Tarrant County College

text: Fort Worth, Texas

text: San Antonio

text: Oblate School of Theology

text: Diocese of Fort Worth

text: Joseph Charron

text: C.PP.S.

text: Des Moines

text: parochial vicar

text: Bedford, Texas

text: North Richland Hills, Texas

text: Henrietta

text: Bowie

text: Montague

text: Nocona

text: Texas

text: vicar general

text: moderator of the curia

text: sede vacante

text: Pope Francis

text: Samuel Aquila

text: Denver

text: Michael Sheridan

text: Colorado Springs

text: Pueblo, Colorado

text: Catholic Church hierarchy

text: Catholic Church in the United States

categories: Catholics from Texas,People from Pueblo, Colorado,Living people,American Roman Catholic bishops,People from Miles City, Montana,1951 births,21st-century Roman Catholic bishops,Roman Catholic bishops of Pueblo,Eastern New Mexico University alumni,University of Colorado alumni,People from Fort Worth, Texas

paragraph: Stephen Jay Berg

paragraph: Stephen Jay Berg (born March 3, 1951) is a Catholic bishop in the United States. He was a businessman before he was ordained a priest. Since 2014 he has served as the fifth bishop of the Diocese of Pueblo in the state of Colorado.

paragraph: Section::::Early life and education.

paragraph: Stephen Berg was born the eldest of ten children to Connie and Jeanne Berg in Miles City, Montana. He was educated in the local Catholic schools and graduated from Sacred Heart High School. He earned a bachelor of music degree from the University of Colorado and a master of music degree from Eastern New Mexico University. Berg taught music at Tarrant County College in Fort Worth, Texas and worked in the retail nursery industry for 14 years. He started studies for the priesthood at Assumption Seminary in San Antonio and completed a master of divinity degree at the Oblate School of Theology also in San Antonio. Berg was ordained a priest for the Diocese of Fort Worth on May 15, 1999 by his uncle, Bishop Joseph Charron, C.PP.S. of Des Moines.

paragraph: Section::::Priesthood.

paragraph: After ordination, Berg served as the parochial vicar at St. Michael’s Church in Bedford, Texas from 1999 to 2001 and at St. John the Apostle Church in North Richland Hills, Texas from 2001 to 2002. From 2002 to 2008 he was the pastor of St. Mary's Church in Henrietta, St. Jerome Church in Bowie, St. William Church in Montague, and St. Joseph Church in Nocona all in rural Texas. Berg served as the vicar general of the Fort Worth diocese from 2008 to 2012 while also serving as the pastor of St. Peter the Apostle Church in Fort Worth. He was named moderator of the curia and named parochial administrator of Holy Name of Jesus Church in Fort Worth in 2012. In December of the same year he was elected diocesan administrator sede vacante by the diocesan board of consultors.

paragraph: Section::::Bishop of Pueblo.

paragraph: Pope Francis named Berg the bishop of Pueblo on January 15, 2014. He was consecrated on February 27, 2014 by Archbishop Samuel Aquila of Denver. Bishop Emeritus Joseph Charron, C.PP.S. of Des Moines and Bishop Michael Sheridan of Colorado Springs were the principal co-consecrators. The liturgy was held in Memorial Hall in Pueblo, Colorado.

paragraph: Section::::See also.

paragraph: BULLET::::- Catholic Church hierarchy

paragraph: BULLET::::- Catholic Church in the United States

paragraph: BULLET::::- Historical list of the Catholic bishops of the United States

paragraph: BULLET::::- List of Catholic bishops of the United States

paragraph: BULLET::::- Lists of patriarchs, archbishops, and bishops

paragraph: Section::::External links.

paragraph: BULLET::::- Roman Catholic Diocese of Pueblo Official Site

description: Fifth bishop of the Roman Catholic Diocese of Pueblo.

wikidata_label: Stephen Jay Berg

wikipedia_title: Stephen Jay Berg


text: jazz

text: bebop

text: hard bop

text: Dan Morgenstern

text: Charlie Parker

text: Saginaw, Michigan

text: Edward Boatner

text: Charlie Parker

text: Kenny Clarke

text: Tiny Bradshaw

text: Billy Eckstine

text: Gene Ammons

text: Dexter Gordon

text: Dizzy Gillespie

text: Horace Parlan

text: Bud Powell

text: Eddie "Lockjaw" Davis

text: Prestige Records

text: Argo

text: Verve

text: Roost

text: Thad Jones

text: Chick Corea

text: Autumn Leaves

text: Jimmy Jones

text: Johnny Richards

text: Quincy Jones

text: uptempo

text: ballad

text: Hank Jones

text: Dolo Coker

text: Miles Davis

text: Dragon

text: Wynton Kelly

text: Jimmy Cobb

text: Paul Chambers

text: Hank Mobley

text: Jim Hall

text: Don Patterson

text: Gene Ammons

text: Zoot Sims

text: Al Cohn

text: Johnny Griffin

text: Booker Ervin

text: Soul People

text: Duke Ellington

text: Paul Gonsalves

text: Impulse!

text: Salt and Pepper

text: Ronnie Scott

text: Ronnie Scott

text: Ernest Ranglin

text: Dick Morrissey

text: What's New!!!

text: Parallel-a-Stitt

text: Tune-Up!

text: Scott Yanow

text: Turn It On!

text: Leon Spencer

text: Melvin Sparks

text: Idris Muhammad

text: You Talk That Talk!

text: Gene Ammons

text: George Freeman

text: Don Patterson

text: Billy James

text: Black Vibrations

text: electric saxophone

text: heroin

text: seizure

text: Ron Burton

text: Major Holley

text: John Lewis

text: Village Vanguard

text: The Giants of Jazz

text: Art Blakey

text: Dizzy Gillespie

text: Thelonious Monk

text: Kai Winding

text: Al McKibbon

text: Atlantic

text: Concord

text: EmArcy

text: Red Holloway

text: George Duvivier

text: Jimmy Cobb

text: Bill Hardman

text: Junior Mance

text: Walter Davis Jr.

text: cancer

text: Washington, D.C.

text: The New York Times Magazine

text: 2008 Universal fire

text: Sonny Stitt/Bud Powell/J. J. Johnson

text: Prestige

text: Stitt's Bits

text: Kaleidoscope

text: Jazz at the Hi-Hat

text: Roost

text: The Battle of Birdland

text: Eddie "Lockjaw" Davis

text: Sonny Stitt Plays

text: New York Jazz

text: Verve

text: For Musicians Only

text: Dizzy Gillespie

text: Stan Getz

text: 37 Minutes and 48 Seconds with Sonny Stitt

text: Personal Appearance

text: Sonny Stitt with the New Yorkers

text: Only the Blues

text: Sonny Side Up

text: Sonny Rollins

text: The Saxophones of Sonny Stitt

text: Sonny Stitt

text: Argo

text: Burnin'

text: The Hard Swing

text: Sonny Stitt Plays Jimmy Giuffre Arrangements

text: A Little Bit of Stitt

text: Sonny Stitt Sits in with the Oscar Peterson Trio

text: Oscar Peterson

text: The Sonny Side of Stitt

text: Sonny Stitt Blows the Blues

text: Saxophone Supremacy

text: Sonny Stitt Swings the Most

text: Stittsville

text: Previously Unreleased Recordings

text: Sonny Side Up

text: The Sensual Sound of Sonny Stitt

text: Ralph Burns

text: Sonny Stitt at the D. J. Lounge

text: Dig Him!

text: Gene Ammons

text: Boss Tenors

text: Stitt Meets Brother Jack

text: Boss Tenors in Orbit!

text: Soul Summit

text: Jack McDuff

text: Feelin's

text: Low Flame

text: Jazzland

text: Stitt in Orbit

text: Sonny Stitt & the Top Brass

text: Atlantic

text: Rearin' Back

text: Stitt Plays Bird

text: My Mother's Eyes

text: Pacific Jazz

text: Charles Kynard

text: Move on Over

text: Now!

text: Impulse!

text: Salt And Pepper

text: Soul Shack

text: Stitt Goes Latin

text: Primitivo Soul!

text: My Main Man

text: Bennie Green

text: Shangri-La

text: Don Patterson

text: Soul People

text: Booker Ervin

text: Inter-Action

text: Cadet

text: Zoot Sims

text: Broadway Soul

text: Colpix

text: Hank Marr

text: Sax Expressions

text: Live at Ronnie Scott's

text: Dick Morrissey

text: The Matadors Meet the Bull

text: Roulette

text: Pow!

text: Night Crawler

text: Soul in the Night

text: Bunky Green

text: What's New!!!

text: I Keep Comin' Back!

text: Deuces Wild

text: Robin Kenyatta

text: Parallel-a-Stitt

text: Made for Each Other

text: Delmark

text: Soul Electricity!

text: Come Hither

text: Solid State

text: Night Letter

text: Little Green Apples

text: Turn It On!

text: You Talk That Talk!

text: Black Vibrations

text: Tune-Up!

text: Cobblestone

text: Goin' Down Slow

text: Constellation

text: So Doggone Good

text: Muse

text: Mr. Bojangles

text: The Champ

text: God Bless Jug and Sonny

text: Left Bank Encores

text: Together Again for the Last Time

text: Satan

text: Never Can Say Goodbye

text: Mellow

text: Dumpy Mama

text: Flying Dutchman

text: Blues for Duke

text: Stomp Off Let's Go

text: Catalyst

text: Red Holloway

text: I Remember Bird

text: Finite

text: Progressive

text: Zimbo Trio

text: Atlas

text: In Style

text: Who's Who in Jazz

text: Harry "Sweets" Edison

text: Eddie "Lockjaw" Davis

text: Howard McGhee

text: Gene Ammons

text: All Star Sessions

text: Boss Tenors

text: Boss Tenors in Orbit!

text: Soul Summit

text: You Talk That Talk!

text: God Bless Jug and Sonny

text: Left Bank Encores

text: Together Again for the Last Time

text: Art Blakey

text: A Jazz Message

text: In Walked Sonny

text: Sonet

text: Miles Davis

text: Dragon

text: Dizzy Gillespie

text: The Modern Jazz Sextet

text: Skeeter Best

text: John Lewis

text: Percy Heath

text: Charli Persip

text: Duets

text: The Giants of Jazz

text: Al McKibbon

text: Thelonious Monk

text: Kai Winding

text: The Bop Session

text: John Lewis

text: Hank Jones

text: Percy Heath

text: Max Roach

text: Milt Jackson

text: Loose Walk

text: Palcoscenico

text: Don Patterson

text: Patterson's People

text: The Boss Men

text: Funk You!

text: Donny Brook

text: Tune Up!

text: Oscar Peterson

text: Zimbo Trio

text: Sonny Stitt at Verve Records

text: Sonny Stitt at the Hard Bop Homepage

text: BBC - Radio 3 Jazz Profiles - Sonny Stitt

categories: Bebop saxophonists,1982 deaths,Atlantic Records artists,Transatlantic Records artists,American male saxophonists,Muse Records artists,20th-century saxophonists,Deaths from cancer in Washington, D.C.,Hard bop saxophonists,Miles Davis Quintet members,Prestige Records artists,Musicians from Boston,Musicians from Saginaw, Michigan,Flying Dutchman Records artists,Impulse! Records artists,Cobblestone Records artists,Jazz musicians from Massachusetts,Jazz musicians from Michigan,Verve Records artists,20th-century American musicians,1924 births,American jazz saxophonists,Male jazz musicians,African-American musicians

paragraph: Sonny Stitt

paragraph: Edward Hammond Boatner Jr. (February 2, 1924 – July 22, 1982), known professionally as Sonny Stitt, was an American jazz saxophonist of the bebop/hard bop idiom. Known for his warm tone, he was one of the best-documented saxophonists of his generation, recording more than 100 albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern because of his relentless touring and devotion to jazz. Stitt was sometimes viewed as a Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style, particularly when performing on tenor sax.

paragraph: Section::::Early life.

paragraph: Edward Hammond Boatner, Jr. was born in Boston, Massachusetts and grew up in Saginaw, Michigan. He had a musical background: his father, Edward Boatner, was a baritone singer, composer, and college music professor; his brother was a classically trained pianist, and his mother was a piano teacher. He was given up for adoption in 1924 by his father and adopted by the Stitt family in Saginaw. He later began calling himself "Sonny". While in high school in Saginaw, he played in the Len Francke Band, a local popular swing band.

paragraph: In 1943, Stitt met Charlie Parker. As he often recalled, the two men had similar styles. Parker is alleged to have remarked, "Well, I'll be damned, you sound just like me", to which Stitt responded, "Well, I can't help the way I sound. It's the only way I know how to play." Kenny Clarke said of Stitt, "Even if there had not been a Bird, there would have been a Sonny Stitt."

paragraph: During the 1940s, he played alto saxophone as a member of Tiny Bradshaw's big band, Billy Eckstine's big band with Gene Ammons and Dexter Gordon, and Dizzy Gillespie's big band.

paragraph: Stitt was a leader of Bebop Boys and Galaxy in 1946 and 1948 respectively.

paragraph: Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Parker's style, and he began to develop a far more distinctive sound on tenor. He played with other bop musicians including Horace Parlan, Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records as well as albums for Argo, Verve, and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves."

paragraph: In 1952, Stitt had played with pianist Jimmy Jones and in 1953 performed orchestral music with Johnny Richards. In 1955, he played under Quincy Jones' guidance, playing uptempos and ballads such as "My Funny Valentine" and "Star Dust" and the same year performed "Afterwards" and "There Will Never Be Another You" with Hank Jones. In 1957, Stitt had joined Dolo Coker to perform "Blues for Yard" and "Blue Moon", before returning to Hank to perform "Cherokee".

paragraph: Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record "Live at Stockholm" (Dragon), all of which featured Wynton Kelly, Jimmy Cobb, and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with Hank Mobley. Later in the 1960s, Stitt paid homage to Parker on the album "Stitt Plays Bird", which features Jim Hall on guitar.

paragraph: In 1962, Sonny began playing with Don Patterson, a renown jazz organist with whom he records "Sposin'".

paragraph: Stitt recorded several times with his friend Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best dueling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the "Soul People" album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the "Salt and Pepper" album in 1964. Around that time he appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, "The Night Has a Thousand Eyes", eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey. Stitt was one of the first jazz musicians to experiment with the Selmer Varitone amplification system as heard on the albums "What's New!!!" in 1966 and "Parallel-a-Stitt" in 1967.

paragraph: Section::::Later life.

paragraph: In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, "Tune-Up!", which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. In 1971 he managed to record four albums; "Turn It On!" with Leon Spencer, Melvin Sparks, Idris Muhammad, and Virgil Jones, "You Talk That Talk!" with Gene Ammons and George Freeman as new members of the group, "Just The Way It Was - Live At The Left Bank" with Don Patterson and Billy James, and "Black Vibrations" which featured the same group as in "Turn It On!". "Just The Way It Was - Live At The Left Bank" which was released in 2000 also featured Stitt as an electric saxophone player, which was the first album which encompassed it.

paragraph: Stitt's productivity dropped in the 1970s due to alcoholism. Stitt had drunk heavily since giving up heroin in the late fifties and the abuse was beginning to take its toll. A series of alcohol-induced seizures caused Stitt to abstain and kick the habit for good.

paragraph: In 1975, Sonny had performed with Ron Burton, Major Holley an John Lewis at the Village Vanguard.

paragraph: Stitt joined the all-star group The Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums for Atlantic, Concord and EmArcy. His last recordings were made in Japan. A rejuvenated Stitt also toured with Red Holloway in the late 1970s, who noted a marked improvement in his playing.

paragraph: In 1981, Stitt had performed with George Duvivier and Jimmy Cobb, Six weeks before his death, Stitt had recorded two last consecutive sessions which were with George Duvivier, Jimmy Cobb, Bill Hardman and either with Junior Mance or Walter Davis Jr. on piano.

paragraph: In 1982, Stitt was diagnosed with cancer, and he died on July 22 in Washington, D.C..

paragraph: On June 25, 2019, "The New York Times Magazine" listed Sonny Stitt among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:As leader/co-leader.

paragraph: BULLET::::- 1949–50: "Sonny Stitt/Bud Powell/J. J. Johnson" (Prestige, 1956)

paragraph: BULLET::::- 1950: "Stitt's Bits" (Prestige, 1958)

paragraph: BULLET::::- 1950–52: "Kaleidoscope" (Prestige, 1957)

paragraph: BULLET::::- 1953: "Sonny Stitt Playing Arrangements from the Pen of Johnny Richards" (Roost)

paragraph: BULLET::::- 1954: "Jazz at the Hi-Hat" (Roost)

paragraph: BULLET::::- 1954: "The Battle of Birdland" (Roost) with Eddie "Lockjaw" Davis

paragraph: BULLET::::- 1955: "Sonny Stitt Plays Arrangements from the Pen of Quincy Jones" (Roost)

paragraph: BULLET::::- 1956: "Sonny Stitt Plays" (Roost)

paragraph: BULLET::::- 1956: "New York Jazz" (Verve)

paragraph: BULLET::::- 1956: "For Musicians Only" (Verve) with Dizzy Gillespie and Stan Getz

paragraph: BULLET::::- 1956: "37 Minutes and 48 Seconds with Sonny Stitt" (Roost)

paragraph: BULLET::::- 1957: "Personal Appearance" (Verve)

paragraph: BULLET::::- 1957: "Sonny Stitt with the New Yorkers" (Roost)

paragraph: BULLET::::- 1957: "Only the Blues" (Verve)

paragraph: BULLET::::- 1957: "Sonny Side Up" (Verve) with Dizzy Gillespie and Sonny Rollins

paragraph: BULLET::::- 1958: "The Saxophones of Sonny Stitt" (Roost)

paragraph: BULLET::::- 1958: "Sonny Stitt" (Argo)

paragraph: BULLET::::- 1958: "Burnin'" (Argo)

paragraph: BULLET::::- 1959: "The Hard Swing" (Verve)

paragraph: BULLET::::- 1959: "Sonny Stitt Plays Jimmy Giuffre Arrangements" (Verve)

paragraph: BULLET::::- 1959: "A Little Bit of Stitt" (Roost)

paragraph: BULLET::::- 1959: "Sonny Stitt Sits in with the Oscar Peterson Trio" (Verve) with Oscar Peterson

paragraph: BULLET::::- 1959: "The Sonny Side of Stitt" (Roost)

paragraph: BULLET::::- 1959: "Sonny Stitt Blows the Blues" (Verve)

paragraph: BULLET::::- 1959: "Saxophone Supremacy" (Verve)

paragraph: BULLET::::- 1959: "Sonny Stitt Swings the Most" (Verve)

paragraph: BULLET::::- 1960: "Stittsville" (Roost)

paragraph: BULLET::::- 1960: "Previously Unreleased Recordings" (Verve)

paragraph: BULLET::::- 1960: "Sonny Side Up" (Roost)

paragraph: BULLET::::- 1961: "The Sensual Sound of Sonny Stitt" (Verve) with the Ralph Burns Strings

paragraph: BULLET::::- 1961: "Sonny Stitt at the D. J. Lounge" (Argo)

paragraph: BULLET::::- 1961: "Dig Him!" (Argo) with Gene Ammons (reissued on Prestige as "We'll Be Together Again" in 1969)

paragraph: BULLET::::- 1961: "Boss Tenors" (Verve) with Gene Ammons

paragraph: BULLET::::- 1962: "Stitt Meets Brother Jack" (Prestige) with Jack McDuff

paragraph: BULLET::::- 1962: "Boss Tenors in Orbit!" (Verve) with Gene Ammons

paragraph: BULLET::::- 1962: "Soul Summit" (Prestige) with Gene Ammons and Jack McDuff

paragraph: BULLET::::- 1962: "Feelin's" (Roost)

paragraph: BULLET::::- 1962: "Low Flame" (Jazzland)

paragraph: BULLET::::- 1960–62: "Stitt in Orbit" (Roost)

paragraph: BULLET::::- 1962: "Sonny Stitt & the Top Brass" (Atlantic)

paragraph: BULLET::::- 1962: "Rearin' Back" (Argo)

paragraph: BULLET::::- 1963: "Stitt Plays Bird" (Atlantic)

paragraph: BULLET::::- 1963: "My Mother's Eyes" (Pacific Jazz) with Charles Kynard

paragraph: BULLET::::- 1963: "Move on Over" (Argo)

paragraph: BULLET::::- 1963: "Now!" (Impulse!)

paragraph: BULLET::::- 1963: "Salt And Pepper" (Impulse)

paragraph: BULLET::::- 1963: "Soul Shack" (Prestige)

paragraph: BULLET::::- 1963: "Stitt Goes Latin" (Roost)

paragraph: BULLET::::- 1963: "Primitivo Soul!" (Prestige)

paragraph: BULLET::::- 1964: "My Main Man" (Argo) with Bennie Green

paragraph: BULLET::::- 1964: "Shangri-La" (Prestige) with Don Patterson

paragraph: BULLET::::- 1964: "Soul People" (Prestige) with Booker Ervin and Don Patterson

paragraph: BULLET::::- 1965: "Inter-Action" (Cadet) with Zoot Sims

paragraph: BULLET::::- 1965: "Broadway Soul" (Colpix)

paragraph: BULLET::::- 1965: "The Double-O-Soul of Sonny Stitt, Part 1"/"The Double-O-Soul of Sonny Stitt, Part 2" (Wingate) (Single)

paragraph: BULLET::::- 1965: "Concerto For Jazz Lovers"/"Just Dust" (Wingate) (Single)

paragraph: BULLET::::- 1965: "Stitt's Groove"/"Marr's Groove" (Wingate) (Single) with Hank Marr

paragraph: BULLET::::- 1965: "Sax Expressions" (Roost)

paragraph: BULLET::::- 1965: "Live at Ronnie Scott's" (Ronnie Scott's Jazz House) with Dick Morrissey

paragraph: BULLET::::- 1965: "The Matadors Meet the Bull" (Roulette)

paragraph: BULLET::::- 1965: "Pow!" (Prestige)

paragraph: BULLET::::- 1965: "Night Crawler" (Prestige) with Don Patterson

paragraph: BULLET::::- 1966: "Soul in the Night" (Cadet) with Bunky Green

paragraph: BULLET::::- 1966: "What's New!!!" (Roulette)

paragraph: BULLET::::- 1966: "I Keep Comin' Back!" (Roulette)

paragraph: BULLET::::- 1966: "Deuces Wild" (Atlantic) with Robin Kenyatta

paragraph: BULLET::::- 1967: "Parallel-a-Stitt" (Roulette)

paragraph: BULLET::::- 1968: "Made for Each Other" (Delmark)

paragraph: BULLET::::- 1968: "Soul Electricity!" (Prestige)

paragraph: BULLET::::- 1968: "Come Hither" (Solid State)

paragraph: BULLET::::- 1969: "Night Letter" (Prestige)

paragraph: BULLET::::- 1969: "Little Green Apples" (Solid State)

paragraph: BULLET::::- 1971: "Turn It On!" (Prestige)

paragraph: BULLET::::- 1971: "You Talk That Talk!" (Prestige) with Gene Ammons

paragraph: BULLET::::- 1971: "Black Vibrations" (Prestige)

paragraph: BULLET::::- 1971: "Just the Way It Was" (Hyena)

paragraph: BULLET::::- 1972: "Tune-Up!" (Cobblestone)

paragraph: BULLET::::- 1972: "Goin' Down Slow" (Prestige)

paragraph: BULLET::::- 1972: "Constellation" (Cobblestone)

paragraph: BULLET::::- 1972: "So Doggone Good" (Prestige)

paragraph: BULLET::::- 1972: "12!" (Muse)

paragraph: BULLET::::- 1973: "Mr. Bojangles" (Cadet)

paragraph: BULLET::::- 1973: "The Champ" (Muse)

paragraph: BULLET::::- 1973: "God Bless Jug and Sonny" (Prestige) with Gene Ammons

paragraph: BULLET::::- 1973: "Left Bank Encores" (Prestige) with Gene Ammons

paragraph: BULLET::::- 1973: "Together Again for the Last Time" (Prestige) with Gene Ammons

paragraph: BULLET::::- 1974: "Satan" (Cadet)

paragraph: BULLET::::- 1975: "Never Can Say Goodbye" (Cadet)

paragraph: BULLET::::- 1975: "Mellow" (Muse)

paragraph: BULLET::::- 1975: "Dumpy Mama" (Flying Dutchman)

paragraph: BULLET::::- 1975: "" (Muse)

paragraph: BULLET::::- 1975: "Blues for Duke" (Muse)

paragraph: BULLET::::- 1976: "Stomp Off Let's Go" (Flying Dutchman)

paragraph: BULLET::::- 1976: "" (Catalyst) with Red Holloway

paragraph: BULLET::::- 1977: "I Remember Bird" (Catalyst)

paragraph: BULLET::::- 1977: "" (Catalyst)

paragraph: BULLET::::- 1978: "The Sonny Stitt Quintet" (Finite)

paragraph: BULLET::::- 1978: "Sonny Stitt Meets Sadik Hakim" (Progressive)

paragraph: BULLET::::- 1979: "Zimbo Convida Sonny Stitt" (Clam) with the Zimbo Trio

paragraph: BULLET::::- 1980: "Groovin' High" (Atlas)

paragraph: BULLET::::- 1980: "Atlas Blues "Blow & Ballad"" (Atlas)

paragraph: BULLET::::- 1980: "Sonny's Back" (Muse)

paragraph: BULLET::::- 1981: "In Style" (Muse)

paragraph: BULLET::::- 1981: "Sonny, Sweets and Jaws: Live at Bubbas," (Who's Who in Jazz) with Harry "Sweets" Edison, Eddie "Lockjaw" Davis)

paragraph: BULLET::::- 1981: "Just in Case You Forgot How Bad He Really Was" (32 Jazz)

paragraph: BULLET::::- 1983: "The Last Stitt Sessions" (Muse)

paragraph: BULLET::::- 1988: "Sonny Stitt Featuring Howard McGhee" (Jazz Life) with Howard McGhee

paragraph: Section::::Discography.:As sideman.

paragraph: With Gene Ammons

paragraph: BULLET::::- "All Star Sessions" (Prestige, 1950–55)

paragraph: BULLET::::- "Jug and Sonny" (Chess, 1958)

paragraph: BULLET::::- "Boss Tenors" (Verve, 1961)

paragraph: BULLET::::- "Boss Tenors in Orbit!" (Verve, 1962)

paragraph: BULLET::::- "Soul Summit" (Prestige, 1962)

paragraph: BULLET::::- "You Talk That Talk!" (Prestige, 1971)

paragraph: BULLET::::- "God Bless Jug and Sonny" (Prestige, 1973)

paragraph: BULLET::::- "Left Bank Encores" (Prestige, 1973)

paragraph: BULLET::::- "Together Again for the Last Time" (Prestige, 1974)

paragraph: With Art Blakey

paragraph: BULLET::::- "A Jazz Message" (Impulse!, 1963)

paragraph: BULLET::::- "In Walked Sonny" (Sonet, 1975)

paragraph: With Miles Davis

paragraph: BULLET::::- "Miles Davis in Stockholm 1960 Complete with John Coltrane and Sonny Stitt" (Dragon, 1992)

paragraph: With Dizzy Gillespie

paragraph: BULLET::::- "The Modern Jazz Sextet" (Verve, 1956) with Skeeter Best, John Lewis, Percy Heath and Charli Persip

paragraph: BULLET::::- "Duets" (Verve, 1957) Quintets with Sonny Stitt or Sonny Rollins, with Ray Bryant, Tommy Bryant and Charlie Persip

paragraph: BULLET::::- "The Giants of Jazz" (Atlantic, 1971) with Art Blakey, Al McKibbon, Thelonious Monk and Kai Winding

paragraph: BULLET::::- "The Bop Session" (Sonet, 1975) with John Lewis, Hank Jones, Percy Heath and Max Roach

paragraph: With Milt Jackson

paragraph: BULLET::::- "Loose Walk" (Palcoscenico, 1980)

paragraph: With Don Patterson

paragraph: BULLET::::- "Patterson's People" (Prestige, 1964)

paragraph: BULLET::::- "The Boss Men" (Prestige, 1965)

paragraph: BULLET::::- "Funk You!" (Prestige, 1968)

paragraph: BULLET::::- "Brothers-4" (Prestige, 1969)

paragraph: BULLET::::- "Donny Brook" (Prestige, 1969)

paragraph: BULLET::::- "Tune Up!" (Prestige, 1964–69)

paragraph: With Oscar Peterson

paragraph: BULLET::::- "The Oscar Peterson Trio with Sonny Stitt, Roy Eldridge and Jo Jones at Newport" (Verve, 1957)

paragraph: With Zimbo Trio

paragraph: BULLET::::- "Zimbo Trio invites Sonny Stitt" (1979)

paragraph: Section::::External links.

paragraph: BULLET::::- Sonny Stitt at Verve Records

paragraph: BULLET::::- Sonny Stitt at the Hard Bop Homepage

paragraph: BULLET::::- BBC - Radio 3 Jazz Profiles - Sonny Stitt

alias:
Edward Stitt
Edward Boatner, Jr

description: American jazz saxophonist

wikidata_label: Sonny Stitt

wikipedia_title: Sonny Stitt


text: Kyoto

text: lounge singer

text: Hiroshi Fujiwara

text: Swahili

text: Jōnetsu

text: Jun Murakami

text: Ajico

text: Kenichi Asai

text: 2003 Cannes Film Festival

text: NHK

text: Utauua

text: Sun

text: grammy

text: Ted Jensen

text: Breathe

text: Nephews

text: Cure Jazz

text: Golden Green

text: Hitoshi Matsumoto

text: Dai Nipponjin

text: Atta

text: Haluto Live

text: Ametora

text: Turbo

text: Dorobō

text: Sun

text: Breathe

text: Golden Green

text: Atta

text: Sound of Music

text: JaPo

categories: 1972 births,20th-century Japanese singers,20th-century women singers,Japanese female pop singers,People from Suita, Osaka,Ua (singer),21st-century Japanese singers,Musicians from Osaka Prefecture,Living people,Japanese female singer-songwriters

paragraph: Ua (singer)

paragraph: Section::::Biography.

paragraph: Ua was born Kaori Shima and grew up in Suita, Osaka. After graduating from Saga University of Arts in Kyoto, she worked as a lounge singer in her hometown. There, she was scouted by producer Hiroshi Fujiwara. She took on the unusual stage name of "UA" (a Swahili word that means both "flower" and "kill") and made her debut with the Fujiwara-produced "Horizon". Her fourth single "Jōnetsu" became a smash hit and Ua was recognized all over Japan.

paragraph: After releasing her first album, "11", Ua married actor Jun Murakami and gave birth to a son. The couple divorced in 2006. In 2000, after two more albums, "Ametora" and "Turbo", Ua took a hiatus from her solo work and formed the band Ajico with Kenichi Asai. She resumed her solo activities in 2002 and released her fourth album, "Dorobō". The same year she made her acting debut as the leading role in the film "Mizu no Onna", as well as contributing to the soundtrack. The film went on to win the Golden Alexander prize for Best Feature-Length Film at the International Thessaloniki Film Festival and was screened at the 2003 Cannes Film Festival.

paragraph: In 2003, Ua released "", her first compilation album. In April that year, she expanded her activities by becoming the hostess named ううあ (the pronunciation remains the same since it is meant to be a phonetic representation of her usual stagename) of an educational TV program on NHK called "Do Re Mi no TV", designed to pass along Japanese traditional songs to children. "Utauua", a compilation of the songs performed, was released in 2004. The same year she released her fifth album, "Sun", which was mastered by grammy-winning mastering engineer Ted Jensen. In 2005, she released her sixth album, "Breathe", and a compilation album of collaborations titled "Nephews" to mark her 10th anniversary. In 2006, Ua collaborated with renowned jazz musician Naruyoshi Kikuchi on the album "Cure Jazz". In 2007, in addition to releasing her seventh album "Golden Green", Ua made a second foray into acting by appearing in Hitoshi Matsumoto's directorial debut "Dai Nipponjin".

paragraph: In 2008, Ua revealed that she married again and gave birth to a daughter, in August. In December, she released the single "2008", followed by her eighth album, "Atta", in July 2009. In April 2010, Ua released her fourth live album, entitled "Haluto Live".

paragraph: In September 2010, her combined house and studio in Sagamihara accidentally burned down; no one was injured.

paragraph: Section::::Discography.

paragraph: BULLET::::- "11" (1996)

paragraph: BULLET::::- "Ametora" (1998)

paragraph: BULLET::::- "Turbo" (1999)

paragraph: BULLET::::- "Dorobō" (2002)

paragraph: BULLET::::- "Sun" (2004)

paragraph: BULLET::::- "Breathe" (2005)

paragraph: BULLET::::- "Golden Green" (2007)

paragraph: BULLET::::- "Atta" (2009)

paragraph: BULLET::::- "Sound of Music" (2015)

paragraph: BULLET::::- "JaPo" (2016)

description: Japanese singer-songwriter

wikidata_label: Ua

wikipedia_title: Ua (singer)


text: Elizabeth II

text: Mary Pamela McCorquodale

text: Queen Elizabeth The Queen Mother

text: Sunningdale School

text: Eton College

text: University of Aberdeen

text: RMA Sandhurst

text: Captain

text: British Army

text: Scots Guards

text: Earl of Strathmore and Kinghorne

text: Henry Keswick

text: Percy Weatherall

text: Tai-Pans

text: Jardine Matheson

text: Glamis Castle

categories: People educated at Eton College,Earls of Strathmore and Kinghorne,Conservative Party (UK) Baronesses- and Lords-in-Waiting,Scots Guards officers,Deputy Lieutenants of Angus,1957 births,Alumni of the University of Aberdeen,2016 deaths,Bowes-Lyon family,People educated at Sunningdale School,Pages of Honour

paragraph: Michael Bowes-Lyon, 18th Earl of Strathmore and Kinghorne

paragraph: Michael Fergus Bowes-Lyon, 18th and 5th Earl of Strathmore and Kinghorne, (7 June 1957 – 27 February 2016), styled Lord Glamis between 1972 and 1987, was a British politician and soldier, and a first cousin, once removed, of Elizabeth II.

paragraph: Section::::Family and background.

paragraph: Lord Strathmore was the only son of Michael Bowes-Lyon, 17th Earl of Strathmore and Kinghorne, and his wife Mary Pamela McCorquodale (b.1932). He was a great-nephew of the late Queen Elizabeth The Queen Mother and a first cousin, once removed, of Queen Elizabeth II.

paragraph: He was educated at Sunningdale School, Eton College, the University of Aberdeen and RMA Sandhurst. He rose to the rank of Captain in the British Army (serving with the Scots Guards). He succeeded his father as 18th Earl of Strathmore and Kinghorne in 1987.

paragraph: Section::::Marriage and children.

paragraph: Lord Strathmore was married three times.

paragraph: In 1984 he married Isobel Charlotte Weatherall (b ca 1963), great-granddaughter of Henry Keswick and sister of businessman Percy Weatherall, Tai-Pans of Jardine Matheson. They were separated in 2003 and were divorced in 2005. They had three children:

paragraph: BULLET::::- Simon Bowes-Lyon, 19th Earl of Strathmore and Kinghorne (b. 18 June 1986)

paragraph: BULLET::::- Hon. John Fergus Bowes-Lyon (b. 1988)

paragraph: BULLET::::- Hon. George Norman Bowes-Lyon (b. 1991)

paragraph: On 24 November 2005 at Glamis Castle he married Dr. Damaris E. Stuart-William, a clinical psychologist. They were separated in 2007 and were divorced in 2008. They had one child, a son:

paragraph: BULLET::::- Hon. Toby Peter Fergus Bowes-Lyon (b. March 2005) (legitimised upon the marriage of his parents)

paragraph: On 4 August 2012 he married Karen Baxter who survives him.

description: British earl


text: sociologist

text: literary critic

text: Patrick Geddes

text: Victor Branford

text: Frank Lloyd Wright

text: Clarence Stein

text: Frederic Osborn

text: Edmund N. Bacon

text: Vannevar Bush

text: Flushing

text: Queens

text: Stuyvesant High School

text: City College of New York

text: The New School for Social Research

text: The Dial

text: modernist

text: The New Yorker

text: transcendentalist

text: Herman Melville

text: mass communication

text: Henry Hobson Richardson

text: Louis Sullivan

text: Frank Jewett Mather

text: College Art Association

text: Presidential Medal of Freedom

text: Prix mondial Cino Del Duca

text: National Medal of Arts

text: The City in History

text: National Book Award

text: his home

text: Amenia, New York

text: National Register of Historic Places

text: Marshall McLuhan

text: Greek

text: tekhne

text: Technics and Civilization

text: The Myth of the Machine

text: criticizes the modern trend of technology

text: credit

text: installment buying

text: planned obsolescence

text: superficial "fashion" changes

text: refrigerator

text: Blade Runner

text: Patrick Geddes

text: Alfred North Whitehead

text: Technics and Civilization

text: Automobile

text: walking

text: public transit

text: Technics and Civilization

text: epochs

text: hierarchical

text: stage theory

text: technocratic

text: nuclear powers

text: Kremlin

text: the Pentagon

text: pyramids

text: Roman Empire

text: World War

text: pharaoh

text: Mao Zedong

text: Joseph Stalin

text: ancient Egypt

text: Nazi Germany

text: bureaucracy

text: assembly line

text: wireless

text: remote control

text: Adolf Eichmann

text: the Holocaust

text: mechanical clock

text: Middle Ages

text: Industrial Revolution

text: steam engine

text: The City in History

text: National Book Award for Nonfiction

text: urban sprawl

text: pessimist

text: urban planning

text: urban culture

text: alienation

text: Jacques Ellul

text: Witold Rybczynski

text: Richard Gregg

text: Amory Lovins

text: J. Baldwin

text: E. F. Schumacher

text: Herbert Marcuse

text: Erich Fromm

text: Murray Bookchin

text: Thomas Merton

text: Marshall McLuhan

text: Colin Ward

text: Barry Commoner

text: Ramachandra Guha

text: bioregionalism

text: biodiversity

text: Berenice Abbott

text: Ellsworth Toohey

text: Ayn Rand

text: The Fountainhead

text: American Library Association

text: Technics and Civilization

text: "The City" (film)

text: The City in History

text: The Myth of the Machine

text: Lewis Mumford: A Brief Biography

text: Virtual Lewis Mumford Library

text: Monmouth University

text: Lifetime Honors – National Medal of Arts

text: Works by Lewis Mumford

text: Lewis Mumford papers

categories: American male non-fiction writers,Prix mondial Cino Del Duca winners,1895 births,Writers from New York City,American non-fiction environmental writers,American architectural historians,20th-century American philosophers,20th-century American essayists,American architecture critics,The New School alumni,Green thinkers,The New Yorker people,People from Queens, New York,Leonardo da Vinci Medal recipients,20th-century American male writers,20th-century American historians,American technology writers,1990 deaths,American sociologists,Architectural theoreticians,Frank Jewett Mather Award winners,American anti-fascists,City College of New York alumni,American architecture writers,Guggenheim Fellows,American environmentalists,American literary critics,Recipients of the Royal Gold Medal,Stuyvesant High School alumni,Urban historians,Philosophers of technology,Honorary Knights Commander of the Order of the British Empire,National Book Award winners,Activists from New York (state),Urban theorists,Historians of technology,Presidential Medal of Freedom recipients,United States National Medal of Arts recipients

paragraph: Lewis Mumford

paragraph: Lewis Mumford (October 19, 1895 – January 26, 1990) was an American historian, sociologist, philosopher of technology, and literary critic. Particularly noted for his study of cities and urban architecture, he had a broad career as a writer. Mumford was influenced by the work of Scottish theorist Sir Patrick Geddes and worked closely with his associate the British sociologist Victor Branford.

paragraph: Mumford was also a contemporary and friend of Frank Lloyd Wright, Clarence Stein, Frederic Osborn, Edmund N. Bacon, and Vannevar Bush.

paragraph: Section::::Life.

paragraph: Mumford was born in Flushing, Queens, New York and graduated from Stuyvesant High School in 1912. He studied at the City College of New York and The New School for Social Research, but became ill with tuberculosis and never finished his degree. In 1918 he joined the navy to serve in World War I and was assigned as a radio electrician. He was discharged in 1919 and became associate editor of "The Dial", an influential modernist literary journal. He later worked for "The New Yorker" where he wrote architectural criticism and commentary on urban issues.

paragraph: Mumford's earliest books in the field of literary criticism have had a lasting impact on contemporary American literary criticism. "The Golden Day" contributed to a resurgence in scholarly research on the work of 1850s American transcendentalist authors and "Herman Melville: A Study of His Life and Vision" effectively launched a revival in the study of the work of Herman Melville. Soon after, with the book "The Brown Decades", he began to establish himself as an authority in American architecture and urban life, which he interpreted in a social context.

paragraph: In his early writings on urban life, Mumford was optimistic about human abilities and wrote that the human race would use electricity and mass communication to build a better world for all humankind. He would later take a more pessimistic stance. His early architectural criticism also helped to bring wider public recognition to the work of Henry Hobson Richardson, Louis Sullivan and Frank Lloyd Wright.

paragraph: In 1963, Mumford received the Frank Jewett Mather Award for art criticism from the College Art Association. Mumford received the Presidential Medal of Freedom in 1964. In 1975 Mumford was made an honorary Knight Commander of the Order of the British Empire (KBE). In 1976, he was awarded the Prix mondial Cino Del Duca. In 1986, he was awarded the National Medal of Arts.

paragraph: He served as the architectural critic for "The New Yorker" magazine for over 30 years. His 1961 book, "The City in History", received the National Book Award.

paragraph: Lewis Mumford died at the age of 94 at his home in Amenia, New York on January 26, 1990. Nine years later it was listed on the National Register of Historic Places. His wife Sophia died in 1997, at age 97.

paragraph: Section::::Ideas.

paragraph: In his book "The Condition of Man", published in 1944, Mumford characterized his orientation toward the study of humanity as "organic humanism". The term is an important one because it sets limits on human possibilities, limits that are aligned with the nature of the human body. Mumford never forgot the importance of air quality, of food availability, of the quality of water, or the comfort of spaces, because all these things had to be respected if people were to thrive. Technology and progress could never become a runaway train in his reasoning, so long as organic humanism was there to act as a brake. Indeed, Mumford considered the human brain from this perspective, characterizing it as hyperactive, a good thing in that it allowed humanity to conquer many of nature's threats, but potentially a bad thing if it were not occupied in ways that stimulated it meaningfully. Mumford's respect for human "nature", that is to say, the natural characteristics of being human, provided him with a platform from which to assess technologies, and technics in general. Thus his criticism and counsel with respect to the city and with respect to the implementation of technology was fundamentally organized around the organic humanism to which he ascribed. It was from the perspective of organic humanism that Mumford eventually launched a critical assessment of Marshall McLuhan, who argued that the technology, not the natural environment, would ultimately shape the nature of humankind, a possibility that Mumford recognized, but only as a nightmare scenario.

paragraph: Mumford believed that what defined humanity, what set human beings apart from other animals, was not primarily our use of tools (technology) but our use of language (symbols). He was convinced that the sharing of information and ideas amongst participants of primitive societies was completely natural to early humanity, and had obviously been the foundation of society as it became more sophisticated and complex. He had hopes for a continuation of this process of information "pooling" in the world as humanity moved into the future.

paragraph: Mumford's choice of the word "technics" throughout his work was deliberate. For Mumford, technology is one part of technics. Using the broader definition of the Greek "tekhne", which means not only technology but also art, skill, and dexterity, technics refers to the interplay of social milieu and technological innovation—the "wishes, habits, ideas, goals" as well as "industrial processes" of a society. As Mumford writes at the beginning of "Technics and Civilization", "other civilizations reached a high degree of technical proficiency without, apparently, being profoundly influenced by the methods and aims of technics."

paragraph: Section::::Ideas.:Megatechnics.

paragraph: In "The Myth of the Machine Vol II: The Pentagon of Power" (Chapter 12) (1970), Mumford criticizes the modern trend of technology, which emphasizes constant, unrestricted expansion, production, and replacement. He contends that these goals work against technical perfection, durability, social efficiency, and overall human satisfaction. Modern technology, which he called "megatechnics", fails to produce lasting, quality products by using devices such as consumer credit, installment buying, non-functioning and defective designs, planned obsolescence, and frequent superficial "fashion" changes. "Without constant enticement by advertising," he writes, "production would slow down and level off to normal replacement demand. Otherwise many products could reach a plateau of efficient design which would call for only minimal changes from year to year."

paragraph: He uses his own refrigerator as an example, reporting that it "has been in service for nineteen years, with only a single minor repair: an admirable job. Both automatic refrigerators for daily use and deepfreeze preservation are inventions of permanent value. ... [O]ne can hardly doubt that if biotechnic criteria were heeded, rather than those of market analysts and fashion experts, an equally good product might come forth from Detroit, with an equally long prospect of continued use."

paragraph: Section::::Ideas.:Biotechnics.

paragraph: Mumford was deeply concerned with the relationship between technics and bioviability. The latter term, not used by Mumford, characterizes an area's capability to support life up through its levels of complexity. Before the advent of technology, most areas of the planet were bioviable at some level or other; however, where certain forms of technology advance rapidly, bioviability decreases dramatically. Slag heaps, poisoned waters, parking lots, and concrete cities, for example, are extremely limited in terms of their bioviability, illustrated in the somewhat startling 1943 novel title "A Tree Grows in Brooklyn", and non-bioviable regions are common to cinema in the form of dystopias (e.g., "Blade Runner"). Mumford did not believe it was necessary for bioviability to collapse as technics advanced, however, because he held it was possible to create technologies that functioned in an ecologically responsible manner, and he called that sort of technology biotechnics. Mumford believed that biotechnic consciousness (and possibly even community) was emerging as a later stage in the evolution of Darwinian thinking about the nature of human life. He believed this was the sort of technics needed to shake off the suicidal drive of "megatechnics." While Mumford recognized an ecological consciousness that traces back to the earliest communities, he regarded emerging biotechnics as a product of neo-Darwinian consciousness, as a post-industrial form of thinking, one that refuses to look away from the mutually-influencing relationship between the state of the living organism and the state of its environment. In Mumford's mind, the society organized around biotechnics would restrain its technology for the sake of that integral relationship.

paragraph: In Mumford's understanding, the various technologies that arose in the megatechnic context have brought unintended and harmful side effects along with the obvious benefits they have bequeathed to us. He points out, for example, that the development of money (as a technology) created, as a side effect, a context for irrational accumulation of excess because it eliminated the burdensome aspects of object-wealth by making wealth abstract. In those eras when wealth was not abstract, plenitude had functioned as the organizing principle around its acquisition (i.e., wealth, measured in grains, lands, animals, to the point that one is satisfied, but not saddled with it). Money, which allows wealth to be conceived as pure quantity instead of quality, is an example of megatechnics, one which can spiral out of control. If Mumford is right in this conceptualization, historians and economists should be able to trace a relationship between the still-increasing abstraction of wealth and radical transformations with respect to wealth's distribution and role. And, indeed, it does appear that, alongside its many benefits, the movement toward electronic money has stimulated forms of economic stress and exploitation not yet fully understood and not yet come to their conclusion. A technology for distributing resources that was less given to abstract hoarding would be more suitable to a biotechnic conception of living.

paragraph: Thus Mumford argued that the biotechnic society would not hold to the megatechnic delusion that technology must expand unceasingly, magnifying its own power and would shatter that delusion in order to create and preserve "livability." Rather than the megatechnic pursuit of power, the biotechnic society would pursue what Mumford calls "plenitude"; that is, a homeostatic relationship between resources and needs. This notion of plenitude becomes clearer if we suggest that the biotechnic society would relate to its technology in the manner an animal relates to available food–under circumstances of natural satisfaction, the pursuit of technological advance would not simply continue "for its own sake."

paragraph: Alongside the limiting effect of satisfaction amidst plenitude, the pursuit of technological advance would also be limited by its potentially negative effects upon the organism. Thus, in a biotechnic society, the quality of air, the quality of food, the quality of water, these would all be significant concerns that could limit any technological ambitions threatening to them. The anticipated negative value of noise, radiation, smog, noxious chemicals, and other technical by-products would significantly constrain the introduction of new technical innovation. In Mumford's words, a biotechnic society would direct itself toward "qualitative richness, amplitude, spaciousness, and freedom from quantitative pressures and crowding. Self-regulation, self-correction, and self-propulsion are as much an integral property of organisms as nutrition, reproduction, growth, and repair." The biotechnic society would pursue balance, wholeness, and completeness; and this is what those individuals in pursuit of biotechnics would do as well.

paragraph: Mumford's critique of the city and his vision of cities that are organized around the nature of human bodies, so essential to all Mumford's work on city life and urban design, is rooted in an incipient notion of biotechnics: "livability," a notion which Mumford got from his mentor, Patrick Geddes.

paragraph: Mumford used the term biotechnics in the later sections of "The Pentagon of Power", written in 1970. The term sits well alongside his early characterization of "organic humanism," in that biotechnics represent the concrete form of technique that appeals to an organic humanist. When Mumford described biotechnics, automotive and industrial pollution had become dominant technological concerns, along with the fear of nuclear annihilation. Mumford recognized, however, that technology had even earlier produced a plethora of hazards, and that it would do so into the future. For Mumford, human hazards are rooted in a power-oriented technology that does not adequately respect and accommodate the essential nature of humanity. Mumford is stating implicitly, as others would later state explicitly, that contemporary human life understood in its ecological sense is out of balance because the technical parts of its ecology (guns, bombs, cars, drugs) have spiraled out of control, driven by forces peculiar to them rather than constrained by the needs of the species that created them. He believed that biotechnics was the emerging answer and the only hope that could be set out against the problem of megatechnics. It was an answer, he believed, that was already beginning to assert itself in his time.

paragraph: It is true that Mumford's writing privileges the term "biotechnics" more than the "biotechnic society." The reason is clear in the last sentence of "The Pentagon of Power" where he writes, "for those of us who have thrown off the myth of the machine, the next move is ours: for the gates of the technocratic prison will open automatically, despite their rusty ancient hinges, as soon as we choose to walk out." Mumford believed that the biotechnic society was a desideratum—one that should guide his contemporaries as they walked out the doors of their megatechnic confines (he also calls them "coffins"). Thus he ends his narrative, as he well understood, at the beginning of another one: the possible revolution that gives rise to a biotechnic society, a quiet revolution, for Mumford, one that would arise from the biotechnic consciousness and actions of individuals. Mumford was an avid reader of Alfred North Whitehead's philosophy of the organism.

paragraph: Section::::Ideas.:Polytechnics versus monotechnics.

paragraph: A key idea, introduced in "Technics and Civilization" (1934) was that technology was twofold:

paragraph: BULLET::::- "Polytechnic", which enlists many different modes of technology, providing a complex framework to solve human problems.

paragraph: BULLET::::- "Monotechnic", which is technology only for its own sake, which oppresses humanity as it moves along its own trajectory.

paragraph: Mumford commonly criticized modern America's transportation networks as being "monotechnic" in their reliance on cars. Automobiles become obstacles for other modes of transportation, such as walking, bicycle and public transit, because the roads they use consume so much space and are such a danger to people. Mumford explains that the thousands of maimed and dead each year as a result of automobile accidents are a "ritual sacrifice" the American society makes because of its extreme reliance on highway transport.

paragraph: Section::::Ideas.:Three epochs of civilization.

paragraph: Also discussed at length in "Technics and Civilization" is Mumford's division of human civilization into three distinct epochs (following concepts originated by Patrick Geddes):

paragraph: Section::::Ideas.:Megamachines.

paragraph: Mumford also refers to large hierarchical organizations as "megamachines"—a machine using humans as its components. These organizations characterize Mumford's stage theory of civilization. The most recent megamachine manifests itself, according to Mumford, in modern technocratic nuclear powers—Mumford used the examples of the Soviet and United States power complexes represented by the Kremlin and the Pentagon, respectively. The builders of the pyramids, the Roman Empire and the armies of the World Wars are prior examples.

paragraph: He explains that meticulous attention to accounting and standardization, and elevation of military leaders to divine status, are spontaneous features of megamachines throughout history. He cites such examples as the repetitive nature of Egyptian paintings which feature enlarged pharaohs and public display of enlarged portraits of Communist leaders such as Mao Zedong and Joseph Stalin. He also cites the overwhelming prevalence of quantitative accounting records among surviving historical fragments, from ancient Egypt to Nazi Germany.

paragraph: Necessary to the construction of these megamachines is an enormous bureaucracy of humans which act as "servo-units", working without ethical involvement. According to Mumford, technological improvements such as the assembly line, or instant, global, wireless, communication and remote control, can easily weaken the perennial psychological barriers to certain types of questionable actions. An example which he uses is that of Adolf Eichmann, the Nazi official who organized logistics in support of the Holocaust. Mumford collectively refers to people willing to carry out placidly the extreme goals of these megamachines as "Eichmanns".

paragraph: Section::::Ideas.:The clock as herald of the Industrial Revolution.

paragraph: One of the better-known studies of Mumford is of the way the mechanical clock was developed by monks in the Middle Ages and subsequently adopted by the rest of society. He viewed this device as the key invention of the whole Industrial Revolution, contrary to the common view of the steam engine holding the prime position, writing: "The clock, not the steam-engine, is the key-machine of the modern industrial age. ... The clock ... is a piece of power-machinery whose 'product' is seconds and minutes ..."

paragraph: Section::::Ideas.:Urban civilization.

paragraph: "The City in History" won the 1962 U.S. National Book Award for Nonfiction. In this influential book Mumford explored the development of urban civilizations. Harshly critical of urban sprawl, Mumford argues that the structure of modern cities is partially responsible for many social problems seen in western society. While pessimistic in tone, Mumford argues that urban planning should emphasize an organic relationship between people and their living spaces.

paragraph: Mumford uses the example of the medieval city as the basis for the "ideal city," and claims that the modern city is too close to the Roman city (the sprawling megalopolis) which ended in collapse; if the modern city carries on in the same vein, Mumford argues, then it will meet the same fate as the Roman city.

paragraph: Mumford wrote critically of urban culture believing the city is "a product of earth ... a fact of nature ... man's method of expression." Further, Mumford recognized the crises facing urban culture, distrustful of the growing finance industry, political structures, fearful that a local community culture was not being fostered by these institutions. Mumford feared "metropolitan finance," urbanisation, politics, and alienation. Mumford wrote: "The physical design of cities and their economic functions are secondary to their relationship to the natural environment and to the spiritual values of human community."

paragraph: Section::::Ideas.:Urban civilization.:Suburbs.

paragraph: Suburbia did not escape Mumford's criticism either:

paragraph: In the suburb one might live and die without marring the image of an innocent world, except when some shadow of evil fell over a column in the newspaper. Thus the suburb served as an asylum for the preservation of illusion. Here domesticity could prosper, oblivious of the pervasive regimentation beyond. This was not merely a child-centered environment; it was based on a childish view of the world, in which reality was sacrificed to the pleasure principle.

paragraph: Section::::Ideas.:Religion and Spirituality.

paragraph: Mumford is also among the first urban planning scholars who paid serious attention to religion in the planning field. In one of his least well-known books, "Faith for Living" (1940, p. 216), Mumford argues that:

paragraph: The segregation of the spiritual life from the practical life is a curse that falls impartially upon both sides of our existence.

paragraph: Section::::Influence.

paragraph: Mumford's interest in the history of technology and his explanation of "polytechnics", along with his general philosophical bent, has been an important influence on a number of more recent thinkers concerned that technology serve human beings as broadly and well as possible. Some of these authors—such as Jacques Ellul, Witold Rybczynski, Richard Gregg, Amory Lovins, J. Baldwin, E. F. Schumacher, Herbert Marcuse, Erich Fromm, Murray Bookchin, Thomas Merton, Marshall McLuhan, and Colin Ward—have been intellectuals and persons directly involved with technological development and decisions about the use of technology.

paragraph: Mumford also had an influence on the American environmental movement, with thinkers like Barry Commoner and Bookchin being influenced by his ideas on cities, ecology and technology. Ramachandra Guha noted his work contains "some of the earliest and finest thinking on bioregionalism, anti-nuclearism, biodiversity, alternate energy paths, ecological urban planning and appropriate technology."

paragraph: Mumford's influence is also evident in the work of some artists including Berenice Abbott's photographs of New York City in the late 1930s.

paragraph: Mumford was an inspiration for Ellsworth Toohey, the antagonist in Ayn Rand's novel "The Fountainhead" (1943).

paragraph: Section::::Works.

paragraph: BULLET::::- 1922  "The Story of Utopias"

paragraph: BULLET::::- 1924  "Sticks and Stones"

paragraph: BULLET::::- 1926  "Architecture", published by the American Library Association in its "Reading With a Purpose" series

paragraph: BULLET::::- 1926  "The Golden Day"

paragraph: BULLET::::- 1929  "Herman Melville: A Study of His Life and Vision"

paragraph: BULLET::::- 1931  "The Brown Decades: A Study of the Arts in America, 1865–1895"

paragraph: BULLET::::- "Renewal of Life" series

paragraph: BULLET::::- 1934  "Technics and Civilization"

paragraph: BULLET::::- 1938  "The Culture of Cities"

paragraph: BULLET::::- 1944  "The Condition of Man"

paragraph: BULLET::::- 1951  "The Conduct of Life"

paragraph: BULLET::::- 1939  "The City" (film)

paragraph: BULLET::::- 1939  "Men Must Act"

paragraph: BULLET::::- 1940  "Faith for Living"

paragraph: BULLET::::- 1941  "The South in Architecture"

paragraph: BULLET::::- 1945  "City Development"

paragraph: BULLET::::- 1946  "Values for Survival"

paragraph: BULLET::::- 1952  "Art and Technics"

paragraph: BULLET::::- 1954  "In the Name of Sanity"

paragraph: BULLET::::- 1956  "The Transformations of Man" (New York: Harper and Row)

paragraph: BULLET::::- 1961  "The City in History" (awarded the National Book Award)

paragraph: BULLET::::- 1963  "The Highway and the City" (essay collection)

paragraph: BULLET::::- "The Myth of the Machine" (two volumes)

paragraph: BULLET::::- 1967  "Technics and Human Development"

paragraph: BULLET::::- 1970  "The Pentagon of Power"

paragraph: BULLET::::- 1968  "The Urban Prospect" (essay collection)

paragraph: BULLET::::- 1979  "My Work and Days: A Personal Chronicle"

paragraph: BULLET::::- 1982  "Sketches from Life: The Autobiography of Lewis Mumford" (New York: Dial Press)

paragraph: BULLET::::- 1986  "The Lewis Mumford Reader" (Donald L. Miller, ed.; New York: Pantheon Books)

paragraph: Section::::References.

paragraph: Notes

paragraph: Section::::Further reading.

paragraph: BULLET::::- Lasch, Christopher. "Lewis Mumford and the Myth of the Machine," "Salmagundi," No. 49, Summer 1980.

paragraph: BULLET::::- Blake, Casey Nelson (1990). "Beloved Community: The Cultural Criticism of Randolph Bourne, Van Wyck Brooks, Waldo Frank & Lewis Mumford". Chapel Hill: University of North Carolina Press. .

paragraph: Section::::External links.

paragraph: BULLET::::- Lewis Mumford: A Brief Biography

paragraph: BULLET::::- Lewis Mumford Center for Comparative Urban and Regional Research at the University at Albany, The State University of New York

paragraph: BULLET::::- Virtual Lewis Mumford Library- Mumford Archive at Monmouth University

paragraph: BULLET::::- Lifetime Honors – National Medal of Arts

paragraph: BULLET::::- Works by Lewis Mumford at Unz.org

paragraph: BULLET::::- Lewis Mumford papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania

description: American historian, sociologist, philosopher of technology and literary critic (1895-1990)

enwikiquote_title: Lewis Mumford

wikidata_label: Lewis Mumford

wikipedia_title: Lewis Mumford


text:
novelist
poet
Ferrara
natural philosophy
Celio Calcagnini
belles-lettres
Ercole II
Alfonso II d'Este
Mondovi
Milan
rhetoric
Pavia
epic
canto
tragedies
Orbecche
Catholic Reformation
Elizabethan theatre
baroque
Boccaccio
Matteo Bandello
Mondovì
English literature
Measure for Measure
Othello
Shakespeare
George Whetstone
Othello
One Thousand and One Nights
Beaumont and Fletcher
Jossa, Stefano

categories: 16th-century Italian poets,Italian male poets,University of Ferrara alumni,1573 deaths,16th-century Italian novelists,University of Pavia faculty,University of Ferrara faculty,People from Ferrara,1504 births

paragraph: Giovanni Battista Giraldi

paragraph: Giovanni Battista Giraldi (12 November 1504 – 30 December 1573) was an Italian novelist and poet. He appended the nickname Cinthio to his name and is commonly referred to by that name (which is also rendered as Cynthius, Cintio or, in Italian, Cinzio).

paragraph: Section::::Biography.

paragraph: Born at Ferrara, he was educated at the university there, and in 1525 became its professor of natural philosophy. Twelve years afterwards, he succeeded Celio Calcagnini in the chair of belles-lettres.

paragraph: Between 1542 and 1560 he was a private secretary, first to Ercole II and afterwards to Alfonso II d'Este; but having, in connection with a literary quarrel, lost the favour of his patron, he moved to Mondovi, where he remained as a teacher of literature until 1568. Subsequently, on the invitation of the senate of Milan, he occupied the chair of rhetoric at Pavia until 1573, when, in search of health, he returned to Ferrara, where he later died.

paragraph: Besides an epic entitled "Ercole" (1557), in twenty-six cantos, Cinthio wrote nine tragedies, the best known of which, "Orbecche", was produced in 1541. The bloodthirsty nature of the play, and its style, are, in the opinion of many of its critics, almost redeemed by occasional bursts of genuine and impassioned poetry.

paragraph: His literary work was ideologically influenced by the Catholic Reformation. In the theatrical works there appears a vein of experimentation that anticipates some typical elements of taste of the modern European theatre, for example the Elizabethan theatre and baroque styles, where psychological violence and horror are used in function and dramatic action structured in real time.

paragraph: Among the prose works of Cinthio is the "Hecatommithi" or "Gli Ecatommiti", a collection of tales told somewhat after the manner of Boccaccio, but still more closely resembling the novels of Cinthio's contemporary, Matteo Bandello. Something may be said in favour of their professed claim to represent a higher standard of morality. Originally published at Mondovì in 1565, they were frequently reprinted in Italy, while a French translation appeared in 1583 and one in Spanish, with 20 of the stories, in 1590. They have a peculiar interest to students of English literature, for providing the plots of "Measure for Measure" and "Othello". That of the latter, which is to be found in the "Hecatommithi", was almost certainly read by Shakespeare in the original Italian; while that of the former is probably to be traced to George Whetstone's "Promos and Cassandra" (1578), an adaptation of Cinthio's story, and to his "Heptamerone" (1582), which contains a direct English translation. It has also been noted that the story of Othello and "Un Capitano Moro" resemble the earlier tale of "", a story from "One Thousand and One Nights". To Cinthio also must be attributed the plot of Beaumont and Fletcher's "Custom of the Country".

paragraph: Section::::Sources.

paragraph: BULLET::::- Jossa, Stefano, "Rappresentazione e scrittura. La crisi delle forme poetiche rinascimentali (1540-1560)", Naples: Vivarium, 1996.

paragraph: Section::::External links.

paragraph: BULLET::::-  Extended contents (not in book) of first (and only) volume of Hecatommithi] transl. into Spanish 1590, digitised by Biblioteca Nacional Espana, bne.es, digital and hard copy page nos

description: Italian writer

wikidata_label: Giovanni Battista Giraldi

wikipedia_title: Giovanni Battista Giraldi