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<mask> (16 June 1875 – 18 February 1964) was a Swedish engineer, technical designer, and industrialist. Considered one of the foremost inventors of Sweden, <mask> accounted for hundreds of technical patents alone and in collaboration with his brother <mask> (1872–1948): from early bicycling free wheeling hubs techniques and mechanical automatic transmissions for vehicles, to steam turbines, air preheaters, and circular arc hulls for sailing boats. He co-founded companies such as The New Cycle Company, Ljungström Steam Turbine Co. and Ljungström Swedish Turbine Manufacturing Co. (STAL), and associated with other industrialists such as Alfred Nobel, Helge Palmcrantz, Gustaf de Laval, Curt Nicolin, and Gustaf Dalén. As innovative as his ideas were in function, they also often turned out in terms of unconventional external design, such as his steam turbine locomotives and sailboats. During the resource scarcity of World War II, <mask>'s innovative technology for oil shale underground gasification by electrical energy, called the Ljungström method, provided a strategical impact for the Swedish Armed Forces. In addition, <mask>'s technology contributed to the first Swedish jet engine, torpedoes, and more. With <mask>'s air preheater implemented in a large number of modern power stations around the world until this day with total attributed worldwide fuel savings estimated to 4,960,000,000 tons of oil, "few inventions have been as successful in saving fuel as the Ljungström Air Preheater".In 1995, the Ljungström air preheater was distinguished as the 44th International Historic Mechanical Engineering Landmark by the American Society of Mechanical Engineers. His works are represented by the Swedish National Museum of Science and Technology, the Nordic Museum, and the Swedish Railway Museum, as well as internationally such as by the Science Museum in London, England and by Museo Nazionale Scienza e Tecnologia Leonardo da Vinci in Milan, Italy. Early life and background

<mask> <mask> was born in 1875 in Stockholm to cartographer Jonas Patrik <mask> and Amalia (née Falck). His second great uncle was Johan Börjesson, and his third great uncle Bishop Johan Wingård. Among his siblings were <mask>, <mask>, Birger <mask>, and among his brothers-in-law, George Spaak. <mask> <mask> was married twice, first to Elizabeth (née Waesterberg), daughter of Amanda Sandborg Waesterberg, from whom he was widowed, and secondly to Signe (née Söderberg), daughter of Wilhelm Theodor Söderberg. Among his issue was Gunnar <mask>, and among his sons-in-law, Arthur Lundblom, and Torsten Cassel.Educated at Östra Real, he attended the Royal Institute of Technology from where he was subsequently conferred an Honorary Doctorate in 1944. Technical innovativity was notably initiated in the ateliers of his father in Östermalm in Stockholm, that cooperated among others with the early manufactory of L. M. Ericsson. Of importance to his significant autodidact studies was also the tutorship in physics by Salomon August Andrée, as was the early mentorship of Alfred Nobel. Later, <mask> <mask> would in turn offer mentorship to junior industrialists such as Curt Nicolin. Alfred Nobel was aged 61 when he met <mask> and Birger <mask>, 19 and 22 years old. Nobel, who didn't have any children of his own, would enthusiastically collaborate in the brothers' early endeavours. Nobel and the brothers soon became good friends, discussing the world's problems and existential questions of the time, as a certain "father-and-son-like relation" emerged.60 years later, when recalling their talks and time spent together, <mask> <mask> commended Nobel's capacity to "discuss the most complex questions with the unexperienced youngsters yet on equal terms", and that "his critical eye to the contemporary issues was extraordinarily bright"; concluding that "the blood runs warm in my old veins when I think of him." <mask> <mask> died in 1964 on Lidingö, and was buried at Norra begravningsplatsen, Stockholm. Svea Velocipede

The Svea Velocipede was an early invention by <mask> <mask> in collaboration with his brothers Birger, Axel and <mask>. Helge Palmcrantz was also part of the project. An early example in the history of the bicycle, the pedals mechanism of the Svea Velocipede was straight vertical, driven by free wheeling hubs, which was patented by the brothers in 1892, with the shift patented in 1895. Attended and supported by Alfred Nobel, the project was further developed stretching also to London, where the <mask> brothers relocated in 1895 upon recommendation by Nobel. Under the company name The New Cycle Company, to which also George Spaak was connected, the product sold about 2,000 units in Sweden, and 150 units in Great Britain.Production remained until 1898. Although the general preference for circular pedal mechanisms became clear with time, later bicycle models on the market would adopt its foot-operated bicycle brakes while also employing its free wheeling hubs. The Svea Velocipede is exhibited inter alia at the Swedish National Museum of Science and Technology and the Nordic Museum in Stockholm, Sweden. Steam generator

By 1895, <mask> <mask> had developed and patented a steam generator, an invention in which Alfred Nobel put particular interest, especially its surface condenser invention. Applied to a sloop, with speed reaching 12 knot, it became the fastest steamboat around Stockholm archipelago. Also this invention was exported to England in 1896 along with <mask>, first catching the interest of the early Dunford & Elliot in Newcastle upon Tyne. Although the project's initial supporter Alfred Nobel died in 1896, in 1900, The Ljungström Engine Syndicate Limited was founded for the purposes in Newcastle, to which the brothers relocated along with their families, with George Spaak designated as CEO.Although the productions where halted in 1902, several principles of the construction would prove important to the subsequent Ljungström steam engine. After The Ljungström Engine Syndicate Limited, <mask> and Birger went on to work out the first automatic milking device in Sweden, Beta (1901), which caught the interest of Alfred Nobel's nephew Ludvig Nobel (1868–1946) as well as Gustaf Laval at Laval AB Separator. <mask> would remain leading engineer in this venture, Mjölkningsmaskin AB in Kungsholmen, Stockholm, until 1908. At the same time, the brothers also developed methods for paraffin of mineral oil, i.e. die casting of brass, zinc and aluminium that would become well received. The technology would however only prove successful for the market in 1922. Soon enough, however, it was evident that steam turbines would be the main focus for the brothers' ventures.Steam turbines

It has been said that <mask> <mask>'s insights in the steam power came to him already as a child at home, observing how cuisine was prepared in the kitchen. While late Alfred Nobel had continuously paid interest in the development of the steam turbines, this invention were also endorsed figures such as Professor Aurel Stodola in 1907. Ljungström Steam Turbine Co. The new steam turbine technology became the base for the company Ljungström steam turbine Co. (AB Ljungströms Ångturbin, ALÅ), founded in 1908 in Sweden, that owned all the patents on this revolutionising turbine construction. A workshop was first established on Kungsholmen, in premises where a predecessor of Electrolux had recently been founded. Next year the workshop was relocated to Liljeholmen, Stockholm (future :sv:Färgfabriken), where the first turbine was finished in 1910. Already the first unit indicated world records performance.By 1911, a significantly larger unit was produced and successfully tested, with improvements attributed solely to <mask> <mask>'s hand. With also a new generator construction added by Fredrik, the Ljungström turbine's defining features were now ready for the market. The first turbine was sold to North Metropolitan Electric Power Supply Co. for energy supply of the London County Council Tramways. Despite being a prototype, the unit would remain in service for 50 years until it was relocated for exhibition in the Science Museum in London. Ljungström Swedish Turbine Manufacturing Co. In 1913 together the brothers founded a new company, STAL (Svenska Turbinfabriks Aktiebolaget Ljungström; Swedish turbine manufacturing Co.) under the aegis of ALÅ. Just some two years after the last artillery pieces ceased production in Finspång, Östergötland - a former epicenter of the military industry of Sweden since Louis De Geer founded it in 1631 - STAL acquired Finspång complete with the Finspång Castle along with surroundings territories and real estate, erecting a new large scale factory complex at the site.The design studies and management facilities were installed inside the castle. Mechanical engineer Karl Gustaf Karlson, later Professor at Chalmers University of Technology, was connected to the development. This company handled the manufacturing and sales of complete steam turbine driven electric generators. The turbine provided a 10% higher thermodynamic efficiency than previous constructions, in addition to being more compact, requiring less space. STAL:s solutions proved successful, and with contracts such as with Siemens and General Electric, its activities expanded into Europe and beyond, both for stationary uses as well as for marine vessels. "<mask> <mask> was", writes Anders Johnson in Turbines from Finspång - from STAL to Siemens 1913-2013, "not only a successful inventor but also skilled in management and leading the construction processes." His modern work methods were reflected in a checklist of 56 questions to the engineers at STAL, which also included aspects of safety and ergonomics.Most reputed of these questions was nr 14: "Is the construction unnecessarily hideous?". STAL was acquired by ASEA in 1916 as they wished to market complete packages with turbine driven electric generators. The deal was carried out when significant owners and representatives where away on business trips in the turbulent Russian Empire, unable to remain in communication. The brothers then left the company but kept control over all the patents and manufacturing licenses for the Ljungström steam turbines within the company ALÅ. STAL merged with De Laval in the 1950s under the name Stal-Laval. In the 1960s, <mask>

masks:
Fredrik Ljungström
Fredrik Ljungström
Birger Ljungström
Fredrik Ljungström
Ljungström
Fredrik Ljungström
Fredrik
Ljungström
Ljungström
Georg Ljungström
Oscar Ljungström
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Oscar Ljungström
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 Ljungström returned to operations to make significant renewed contributions to the technology the years before he died in 1964. After then having been managed by ABB, the factories would eventually be acquired by Siemens 2003 under the name Siemens Industrial Turbomachinery AB.The technical solutions developed by the brothers at STAL remains employed all over the world with several world records throughout its history in terms of efficiency, fuel savings, size and power until present-day. In 2009, it was estimated some 328 units where equipped with Ljungström's technology, some of which has consisted of the largest vessels ever produced, from vehicles such as the London Underground or the word's largest supertanker Seawise Giant to a vast number of power plants. Only in Sweden, out of its 18 nuclear plants 16 were equipped with the turbines. Furthermore, increasingly since 2005, the technology has proved successful in solar power. In 2008, almost 100% of all sun power plants where equipped by the Ljungström turbines. Steam turbine locomotives

The brothers also designed a number of steam turbine locomotives, some of which were highly successful, starting in 1917. One of the largest factory in the region was set up for the purpose in Gåshaga, Lidingö, Stockholm, in 1918, where the Ljungström brothers also worked out the Ljungström heat exchanger for their locomotives.After successfully assembled, this locomotive proved to be the strongest to ever have been produced. On top of the increased power, since the locomotive reused much of the steam from the turbine exits, its permitted more far-reaching distances without having to fill up water. The first successful attempt for the Swedish Railways in March 1921, patented in July 1922, was a rather odd-looking 12 tons machine. Its three driving axles were located under the tender, and the cab and boiler sat on unpowered wheels. Tests on the designated distance Stockholm-Gothenburg Western Main Line indicated 35% coal savings in comparison with the conventional solutions. The design with driving wheels on both the boiler carriage and the tender with separate turbines would eventually change. The second design was a 2-8-0 similar to a successful freight design.The locomotive was equipped with two wagons for the engine functions. Several patents followed suit the next following years, with Nydqvist & Holm AB selected as licensed manufacturer. Ljungström locomotives where employed for the distances Stockholm-Krylbo and Stockholm-Bollnäs. The turbine effect of this locomotive reached 1,470 kW (1 997 hp) at 10,000 rpm, with a maximum speed of 90 km/h. In 1930, the 2000th Ljungström locomotive was rolled out of the factory of Nydqvist & Holm AB: TGOJ M3 47, M3t 71. This locomotive remained in use until 1931 when it was replaced along the electrification of the Swedish railways in addition to diesel-electric-engined locomotives. Yet, built from 1930 to 1936 by Nydqvist & Holm, Ljungström locomotives continued to replace conventional ones on the Grängesberg-Oxelösund Railway.No condenser was fitted, as its complexity outweighed its thermodynamic advantages. The wheels were driven by a jackshaft. These engines were in use until 1953 when the line was electrified. The "enormous amount of experimental work" made into the Ljungström locomotives also gained international attention. One locomotive was delivered to the Argentine State Railway, designated for the 800 km long distance between Tucumán and Santa Fe, largely through desert with limited water access, needs to which the Ljungström system was especially fitted. This locomotives was equipped with a larger water tank and increased condenser capacity, with turbine power reaching an effect of 1,290 kW (1,753 hp) at 10,000 rpm, decreasing the fuel savings up to 40%. The locomotive remained in service until its disappearance during the Argentine Revolution (1966-1973).From England, Beyer, Peacock and Company sent two engineers to participate and supervise the progress in Stockholm. The company eventually ordered license construction at Gorton Foundry of a copy of the Swedish Railways turbine locomotive SJ Littera Å, employed in London, Midland and Scottish Railway. Its design power was 2000 hp at 10,500rpm, corresponding to a speed on the rails of 78 mph. Design steam conditions were 300 lb/sqin at 200 degC superheat. It was employed for regular passenger service in lines from Derby to Manchester, Birmingham and London with "very considerable economies in coal and water consumption." Deutsche Reichsbahn had use for the technology especially in Bavaria. The old locomotive factory on Lidingö was demolished with dynamite in 1972.Three engines of the Ljungström type have been preserved in Sweden. Two units (71 and 73) are exhibited by the Railway Museum of Grängesberg, and the third (72) by the Swedish Railway Museum. The one in Grängesberg is the world's only remaining steam turbine locomotive in function, Ljungström M3t nr 71, manufactured in 1930 by Nydqvist & Holm AB and renovated by the Locomotive Museum for the 125th anniversary of the Swedish Railways in June 1981, and again in 2014, financed by the Swedish National Heritage Board. Still "world unique" steam turbine locomotives, with a power of 22 tons, it is still Sweden's most powerful steam locomotive in funcion: practical tests showed that it was able to transport 2,000 tons in 17 per mille elevation. Digital emulations has also been created for the 3D train simulator video game Trainz. Air preheaters

<mask> Lindström also invented an efficient air preheater, which even in a modern utility boiler provides up to 20 percent of the total heat transfer in the boiler process, but only represents 2 percent of the investment. One of <mask> <mask>s first patents was a heat exchanger radiator acquired in 1896.Several years later, the Ljungström air preheater innovation was a result of the factory in Lidingö, with patent achieved in 1930, although an anecdote traces the inception to an air conditioning concern during a visit in the smoky premises of the Royal Swedish Opera in Stockholm in 1919. The factory and workshop activities and laboratories in Lidingö would remain throughout the 1920s, with some 70 personnel. In the 1930s it was used a film studio, and was finally demolished in the 1970s to give space for new industry premises. ASEA acquired a majority of the company in 1916, and Erik Sundblad was designated CEO. Royalties were ceased in 1944. In 1995, it was estimated that the Ljungström air preheater had sold in 10,000s of units for in total some 20 billion dollars. Shale oil extraction
During the resource scarcity of World War II, <mask> Ljungström's innovative technology for shale oil extraction underground gasification by electrical energy, called the Ljungström method, provided a significant strategical impact for the Royal Swedish Navy and Air Force.<mask> <mask> obtained his last patent in this industry in 1954. The Ljungström fields outside Örebro, with a war production of about 70 000 m3, were inactived after the war but with a possibility of reactivation in case of renewed need of domestic oil source. While the project was initially supported by Vattenfall, eventually Svenska Skifferolje AB (SSAB) was employed with maintaining the Ljungström fields, which remained in active production until 1966. Naval engineering

<mask> <mask>, an enthusiastic sailor and keen member of the Royal Swedish Yacht Club, made several inventions out of new ideas related to sailing boats. The Ljungström sailboat with the circular arc hull and the Ljungström rig, without a boom and double sail that can work as a spinnaker, is named after <mask> Ljungström. The history of the productions are represented at the Maritime Museum in Stockholm. He also experimented with a vibrationless yacht motor.Other ventures
The transmission technology Spontaneous gear 1920, an automatic gear box developed by <mask> <mask> in the 1920s, attracted attention on the Swedish market, and several private cars were equipped with the system with positive results. A new company was established with this purpose and, Ljungströmsbilen (Swedish: The Ljungström Car). Interest of Axel Wenner-Gren followed by that of Chrysler in the United States got involved, but shortly afterwards had to retreat due to the Wall Street Crash of 1929 and the subsequent Great Depression. Still, an invention of hydraulic gear saw success during World War II with royalties paid by the United States. This gear was used for rail buses and also for the Swedish rail cars by Scania and Vabis. Part of the other technology also moved on to the first Saab cars. Although initially interested in aerospace engineering - <mask> drafted a flight machine project late 19th century - applied aerodynamics never competeted among his main subjects of interest, especially after having lost his son and pilot Lieutenant Einar <mask> in an airplane crash in 1927.Yet, after World War II, <mask>'s technology contributed to the first Swedish jet engine, with STAL Dovern based in part on his technology, developed by the company he founded. <mask> <mask> become a well-reputed figure in the 20th century technical industry in Sweden. Together with his fellow at Royal Swedish Academy of Engineering Sciences Gustaf Dalén, the two inventors once came late to a meeting  going around town in their coach in enthusiastic discussions on new ideas. Curt Nicolin praised the influence in an obituary on <mask> <mask>. The works of <mask> <mask> are represented in the Swedish National Museum of Science and Technology, the Nordic Museum, the Swedish Railway Museum, the Maritime Museum, the Nobel Museum, and the Lidingö Museum, among others. Image gallery

Bibliography
 Studie över fartyg med formen bestämd av cirkelbågar och dess tillämpning på segelbärande motrofartyg och passagerarfartyg, Stockholm, Sveriges standardiseringskommission, 1952
 Unda Maris 1947–48. Tema: Nordisk fiskebåtbyggarekongress 1947, Sjöfartsmuseet, 1948
 Cirkelbågsskrov (Segel och motor), 1939: nr.dr <mask> <mask>, Fiskebäckskil
 Ljungström Prize of the Swedish National Mechanics' Association (sv)
 SRM 100 year jubilee, the story about the Ljungström brothers
 Free Patents Online: <mask> Ljungstrom
 LJUNGSTRÖM Corporate website
 Pupulär Historia  (Swedish)
  (Swedish)
 Ljungström, mer än bara

masks: Fredrik Fredrik Ljungström Fredrik Fredrik Ljungström Fredrik Ljungström Fredrik Fredrik Ljungström Fredrik Ljungström Ljungström Fredrik Ljungström Fredrik Ljungström Fredrik Ljungström Fredrik Ljungström Fredrik


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<mask> "J. J.<mask> (December 5, 1938 – July 26, 2013) was an American guitarist, singer, songwriter and sound engineer. Though he avoided the limelight, his influence as a musical artist has been widely acknowledged by figures such as Mark Knopfler, Neil Young, <mask>, and Eric Clapton, who described him as "one of the most important artists in the history of rock". He is considered to be one of the originators of the Tulsa sound, a loose genre drawing on blues, rockabilly, country, and jazz. In 2008, <mask> and Clapton received a Grammy Award for their album The Road to Escondido. Life and career

Early years
<mask> was born on December 5, 1938, in Oklahoma City, Oklahoma.He was raised in Tulsa, Oklahoma, and graduated from Tulsa Central High School in 1956. As well as learning to play the guitar he began studying the principles of sound engineering while still living with his parents in Tulsa, where he built himself a recording studio. After graduation he was drafted into military service, studying at the Air Force Air Training Command in Rantoul, Illinois. <mask> recalled, "I didn't really want to carry a gun and do all that stuff so I joined the Air Force and what I did is I took technical training and that's kind of where I learned a little bit about electronics." <mask>'s knowledge of mixing and sound recording turned out to play an important role in creating the distinctive sound of his studio albums. Early musical career
Along with a number of other young Tulsa musicians, <mask> moved to Los Angeles in late 1964, where he found employment as a studio engineer as well as playing at bars and clubs. <mask> first tasted success that year when singer Mel McDaniel scored a regional hit with <mask>'s composition "Lazy Me".He managed to land a regular gig at the increasingly popular Whisky a Go Go in March 1965. With <mask> already performing there regularly, club co-owner Elmer Valentine rechristened <mask> as J.J<mask> to avoid confusion with the <mask> in the Velvet Underground. In 1966, while living in the city, he cut a demo single (in those days professional demos were actual 45 rpm vinyl singles) with Liberty Records of his composition "After Midnight". He distributed copies of the single to his Tulsa musician friends living in Los Angeles, many of whom were successfully finding work as session musicians. The A-side was a tune called "Slow Motion", but it was the B-side that would have long-term ramifications for <mask>'s career when Eric Clapton recorded the song and had a Top 20 hit. He found little success as a recording artist and, not being able to make enough money as a studio engineer, he sold his guitar and returned to Tulsa in late 1967, where he joined a band with Tulsa musician Don White. Rise to fame
In 1970 it came to his attention that Eric Clapton had recorded a cover of "After Midnight" on his debut album.<mask>, who was languishing in obscurity at the time, had no knowledge of Clapton's recording until it became a radio hit in 1970. He recalled to Mojo magazine that when he heard Clapton's version playing on his radio, "I was dirt poor, not making enough to eat and I wasn't a young man. I was in my thirties, so I was very happy. It was nice to make some money." <mask>'s version of "After Midnight" differs greatly from Clapton's frenetic version, which is itself based on <mask>'s own arrangement:

It was suggested to <mask> that he should take advantage of this publicity and cut a record of his own. His first album, Naturally, released on 25 October 1971, established his style, described by Los Angeles Times writer Richard Cromelin as a "unique hybrid of blues, folk and jazz, marked by relaxed grooves and <mask>'s fluid guitar and iconic vocals. His early use of drum machines and his unconventional mixes lend a distinctive and timeless quality to his work and set him apart from the pack of Americana roots music purists."His biggest U.S. hit single, "Crazy Mama", peaked at No. 22 on the U.S. Billboard Hot 100 chart in 1972. In the 2005 documentary film To Tulsa and Back, <mask> recounts the story of being offered the opportunity to appear on Dick Clark's American Bandstand to promote the song, which would have moved it higher on the charts. <mask> declined when told he could not bring his band to the recording and would be required to lip-sync the words. Really was produced by Audie Ashworth, who would go on to produce <mask> until 1983. <mask>'s second album further developed the “Tulsa sound” that he would become known for: a swampy mix of folk, jazz, shuffling country blues, and rock ‘n’ roll.Although his songs have a relaxed, casual feel, <mask>, who often used drum machines and layered his vocals, carefully crafted his albums, explaining to Lydia Hutchinson in 2013, “I was an engineer, and I loved manipulating the sound. I love the technical side of recording. I had a recording studio back in the days when no one had a home studio. You had to rent a studio that belonged to a big conglomerate.”   <mask> often acted as his own producer / engineer / session player. His vocals, sometimes whispery, would be buried in the mix. He attributed his unique sound to being a recording mixer and engineer, saying, "Because of all the technology now you can make music yourself and a lot of people are doing that now. I started out doing that a long time ago and I found when I did that I came up with a unique sound."Although <mask> Skynyrd recorded "Call Me the Breeze" for their 1974 LP Second Helping. As he put it in an interview with Russell Hall, "I knew if I became too well known, my life would change drastically. On the other hand, getting some money doesn't change things too much, except you no longer have to go to work." His third album Okie contains some of <mask>'s most covered songs. In the same year of its release, Captain Beefheart recorded "I Got the Same Old Blues" (shortened to "Same Old Blues") for his Bluejeans & Moonbeams LP, one of the few covers to ever appear on a Beefheart album. The song would also be recorded by Eric Clapton, Bobby Bland, Lynyrd Skynyrd, and Bryan Ferry."Cajun Moon" was recorded by Herbie Mann on his 1976 album Surprises with vocals by Cissy Houston, by Poco on their album Cowboys & Englishmen, and by Randy Crawford on Naked and True (1995). The 1976 album Troubadour includes “Cocaine,” a song that would be a major hit for Eric Clapton the following year. In the 2004 documentary To Tulsa and Back, <mask> recalled, "I wrote 'Cocaine', and I'm a big fan of Mose Allison...So I had written the song in a Mose Allison bag, kind of cocktail jazz kind of swing...And Audie said, 'That's really a good song, <mask>, but you oughta make that a little more rock and roll, a little more commercial.' I said, 'Great, man.' So I went back and recut it again as the thing you heard." The song's meaning is ambiguous, although Eric Clapton describes it as an anti-drug song. He has called the song "quite cleverly anti-cocaine", noting:

By the time he recorded 5 in 1979, <mask> had also met singer and guitarist Christine Lakeland, and the LP marks her first appearance on his albums.In the 2005 documentary To Tulsa and Back, Lakeland says they met backstage at a prison benefit show featuring B.B. King and Waylon <mask>. <mask> and Lakeland would later marry. As William Ruhlmann observes in his AllMusic review of the album, “As <mask>'s influence on others expanded, he just continued to turn out the occasional album of bluesy, minor-key tunes. This one was even sparer than usual, with the artist handling bass as well as guitar on many tracks. Listened to today, it sounds so much like a Dire Straits album, it's scary.” The release of 5 coincided with a remarkable live session with Leon Russell recorded at Russell’s Paradise Studios in June 1979 in Los Angeles. The previously unseen footage was discovered in Nashville in 2001 and features several tracks from 5, including “Sensitive Kind,” “Lou-Easy-Ann,” “Fate of a Fool,” “Boilin’ Pot,” and “Don’t Cry Sister.”  Lakeland also performs with <mask>’s band.While living in California in the late sixties, <mask> worked in Russell’s studio as an engineer. The footage was officially released in 2003 as <mask><mask> featuring Leon Russell: In Session at the Paradise Studios. 1980s
<mask> moved to California in 1980 and became a recluse, living in a trailer without a telephone. In 2013, he reflected, "…I knew what fame entailed. I tried to back off from that. I had seen some of the people I was working with forced to be careful because people wouldn’t leave them alone… What I’m saying, basically, is I was trying to get the fortune without having the fame." Shades, which continued <mask>’s tradition of giving his albums one word titles, was recorded in various studios in Nashville and Los Angeles.It boasts an impressive list of top shelf session musicians, including Hal Blaine and Carol Kaye of the Wrecking Crew, <mask>, <mask>, Reggie Young, Glen D. Hardin, Ken Buttrey, and Leon Russell, among many others. 1982’s Grasshopper was recorded in studios in Nashville and North Hollywood, and while a more polished production, it continues <mask>’s exploration into a variety of musical styles that would become known as Americana. His 1983 album #8 was poorly received, and he asked to be released from his contract with PolyGram. Lyrically speaking, with the exception of “Takin’ Care of Business,” the subject matter

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John Weldon
" Cale
Waylon Jennings
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Johnny Rivers
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Jim Keltner
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 on #8 is unremittingly grim. The cynical “Money Talks” (“You’d be surprised the friends you can buy with small change…”), “Hard Times,” “Unemployment,” and “Livin’ Here Too” deal with harsh economic woes and dissatisfaction with life in general, while the provocative “Reality” speaks to using drugs to escape many of the problems he chronicles on the album, singing “One toke of reefer, a little cocaine, one shot of morphine and things begin to change,” and adding “When reality leaves, so do the blues.”  When later asked how he had spent the 1980s he replied: "Mowing the lawn and listening to Van Halen and rap." 1990s

After making a name for himself in the seventies as a songwriter, <mask>’s own recording career came to a halt in the mid-1980s. Although he scored a handful of minor hits, <mask> was indifferent to publicity, preferring to avoid the spotlight, so his albums never sold in high numbers.In 1990 he explained in an interview, "In 1984 I was with a different record company, and it didn’t seem to be working out too good, so I asked to get out of my contract, and that took a couple of years to shuffle the paper around. Then when I got through doin’ that, I thought I’d take a little break from recording; maybe go in once or twice a year and record somethin’ I’d written." Travel-Log was the first solo album <mask> produced himself without long-time producer Audie Ashworth, although Ashworth co-wrote the opening track “Shanghaid” with <mask>. While the album has a travel theme, with titles like “Tijuana” and “New Orleans,” <mask> insisted he did not set out to make a concept album, and only recognized it after he picked the songs:

1992’s Number 10 was <mask>’s second LP for Silvertone. Compared to his albums in the 70s and 80s, he employs fewer session players for this album, yet still achieves his signature sound. Notoriously wary of the spotlight, <mask> quietly went about his own business his way, delivering his own unique blend of musical styles augmented by his laid-back vocal delivery. Ironically, in an era of grunge and the MTV Unplugged trends, <mask> became immersed in electronics and synthesizers.“I did the unplugged, live kind of thing in the ‘70’s and the ‘80’s,” he told one interviewer. “I’ve gone to the other direction now that all that’s become popular. Been there done that! They didn’t call it unplugged in those days but that is what it was…There is a fascination about electronics…It is an art form in itself.”  1994’s Closer to You is best remembered for the change in sound from <mask>’s previous albums due to the prominence of synthesizers, with <mask> employing the instrument on five of the twelve songs. Although the use of synthesizers may have seemed like a left turn for fans used to his laidback, rootsy sound, it was not new; <mask> had used synthesizers on his 1976 Troubadour album. In an interview with Vintage Guitar in 2004, <mask> acknowledged the dismay some fans felt, recalling:

Produced by <mask>, Guitar Man differs from the albums he made in the seventies and early eighties in that while those records featured numerous top shelf session players, <mask> provided the instrumentation on Guitar Man himself, augmented by wife Christine Lakeland on guitar and background vocals and drummer <mask>ce on the opener “Death in the Wilderness.”   In his AllMusic review of the LP, Thom Owens writes, “Although he has recorded Guitar Man as a one-man band effort, it sounds remarkably relaxed and laid-back, like it was made with a seasoned bar band.”  In assessing the album, rock writer Brian Wise of Rhythm Magazine commented, “‘Lowdown’ is typical <mask> shuffle, ‘Days Go By’ gives a jazzy feel to a song about smoking a certain substance while the traditional ‘Old Blue’ reprises a song that many might first have heard with The Byrds version during the Gram Parsons era.”  After Guitar Man, <mask> would take a second hiatus and not release another album for eight years. Later career
Between 1996 and 2003, <mask> released no new music but admiration for his work and musicianship only grew among his fans and admirers.In his 2003 biography Shakey, Neil Young remarked, "Of all the players I ever heard, it's gotta be [<mask>] Hendrix and J. J<mask> who are the best electric guitar players." In the 2005 documentary To Tulsa and Back: On Tour with <mask><mask>, <mask>'s guitar style is characterized by Eric Clapton as "really, really minimal", adding "it's all about finesse". Mark Knopfler was also effusive in his praise for the Oklahoma troubadour, but <mask>’s early 90s experimental synth-heavy output left him at odds with the music industry. 2004’s To Tulsa and Back reunited him with long-time producer Audie Ashworth, as he recalled to Dan Forte:

The album returns to the style and sound <mask> became famous for – a mix of laid-back shuffles, jazzy chords, and bluesy rock and roll with layered vocals – but it also embraces technology, resulting in a cleaner sound than on <mask>’s earlier albums. Lyrically, <mask> makes a rare foray into political songwriting with “The Problem,” an indictment of then-President George W. Bush with lines like, “The man in charge, he don't know what he's doing, he don't know the world has changed.”  “Stone River” is an understated protest song about the water crisis in the West. In 2004, Eric Clapton held the Crossroads Guitar Festival, a three-day festival in Dallas, Texas. Among the performers was J. J<mask>, giving Clapton the opportunity to ask <mask> to produce an album for him.The two ended up recording the album together, releasing it as The Road to Escondido. A number of high-profile musicians also agreed to work on the album, including Billy Preston, Derek Trucks, Taj Mahal, Pino Palladino, <mask>, <mask>, and Doyle Bramhall II. In a coup, whether intended or not, the entire <mask> Trio participated on this album in one capacity or another. Escondido is a city in San Diego County near <mask>'s home at the time located in the small, unincorporated town of Valley Center, California. Eric Clapton owned a mansion in Escondido in the 1980s and early '90s. The road referenced in the album's title is named Valley Center Road. The album won the Grammy Award for Best Contemporary Blues Album in 2008, with <mask> writing 11 of the 14 tracks on the album, with two cuts, "Any Way the Wind Blows" and "Don't Cry Sister", being re-recordings of songs that <mask> recorded previously in the 1970s.In a 2014 interview with NPR, Clapton spoke at length about <mask>'s influence on his music:

Clapton, who toured with Delaney & Bonnie in 1969, recalled in the 2005 documentary To Tulsa and Back, "Delaney Bramlett is the one that was responsible to get me singing. He was the one who turned me on to the Tulsa community. Bramlett produced my first solo album and "After Midnight" was on it, and those [Tulsa] players played on it…461 Ocean Boulevard was my kind of homage to <mask>."

<mask> died at the age of 74 in San Diego, California, on July 26, 2013, after suffering a heart attack. He was survived by his wife Christine Lakeland, whom he married in 1995. His catalogue is published by independent music publishers Fairwood Music International. Posthumous album
On August 10, 2018, it was announced on his official website and on his page on Facebook that a posthumous album of previously unreleased material would be released later in the year. On what would have been <mask>'s 80th birthday on December 5, his Facebook page announced that the album would be released in the spring of 2019.The new album, called Stay Around, was released on April 26, 2019. Tributes
 In 2014, Eric Clapton & Friends released the tribute album The Breeze: An Appreciation of <mask> <mask>. On it, <mask>'s tunes are covered by Clapton with Tom Petty, Mark Knopfler, <mask>, Don White, Willie Nelson, Derek Trucks, <mask>'s wife Christine Lakeland, and others. In the video version of Call Me The Breeze for this album, Clapton declares of <mask>, "He was a fantastic musician. And he was my hero." Kevin Brown's 2015 album, Grit, contained a track called "The Ballad of J. J. <mask>", in tribute to Brown's musical inspiration. Hungarian alternative rock band Quimby's 2009 album, Lármagyűjtögető, contained a track called "Haverom a J. J. Cale" ("My Buddy J. J. Cale").Discography

Naturally (1971)
Really (1972)
Okie (1974)
Troubadour (1976)
5 (1979)
Shades (1981)
Grasshopper (1982)
#8 (1983)
Travel-Log (1990)
Number 10 (1992)
Closer to You (1994)
Guitar Man (1996)
To Tulsa and Back (2004)
Roll On (2009)
Stay Around (2019)

References

External links

Official website
The Long Reach of J.J<mask> on MTV.com
J. J<mask> at Discogs

1938 births
2013 deaths
Central High School (Tulsa, Oklahoma) alumni
American blues guitarists
American male guitarists
American blues singers
American male singer-songwriters
American rock guitarists
American rock songwriters
American rock singers
Grammy Award winners
Musicians from Oklahoma City
Musicians from Tulsa, Oklahoma
Mercury Records artists
Liberty Records artists
American session musicians
Swamp rock
Reprise Records artists
Blues rock musicians
20th-century American singers
21st-century American singers
20th-century American guitarists
21st-century American guitarists
Blues musicians from Oklahoma
Singer-songwriters from Oklahoma
Guitarists from Oklahoma
20th-century American male singers
21st-century American male singers
Because Music

masks:
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
Cale
James Cru
Cale
Cale
Cale
Jimi
. Cale
J J
. Cale
Cale
Cale
Cale
Cale
Cale
. Cale
Cale
John Mayer
Steve Jordan
John Mayer
Cale
Cale
Cale
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J J
Death Cale
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JJ
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John Mayer
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. Cale
. Cale


texts:
<mask> (born 26 July 1949) is a South African born Irish composer and pianist. He studied with Karlheinz Stockhausen and Mauricio Kagel in Cologne in the 1970s and later became associated with the Neue Einfacheit (New Simplicity) movement in the city. In the late 1970s he became interested in the indigenous music of his homeland and began a series of pieces which attempted to combine aspects of African and contemporary European music. Although <mask> later moved away from any direct engagement with African music, certain residual elements such as interlocking rhythms, repetition and open forms are still detectable in his music since the early 1990s which takes a new direction more redolent of certain schools of abstract art. He settled in Ireland permanently in 1986 and was granted Irish citizenship in 1995. Biography
During his teenage years <mask> developed an interest in the music of the post-war avant garde as well as abstract painting. He pursued a Bachelor of Music degree at the University of the Witwatersrand graduating in 1972.After postgraduate study at the University of Aberdeen he moved in 1973 to Cologne, where he became one of only five students admitted to Stockhausen's composition class at the Musikhochschule. He became intimately acquainted with Stockhausen's extensions of serial technique and eventually became his teaching assistant in 1975–76, replacing Richard Toop. He also took lessons in music theatre from Mauricio Kagel as well as taking piano lessons from Aloys Kontarsky and studying electronic music with Hans-Ulrich Humpert. While in Cologne Volans became increasingly dissatisfied with the new-music movement in the city, which he perceived to be dogmatic and creatively restricting. Alongside other composers such as Walter Zimmermann, Gerald Barry, and Michael von Biel, Volans began to question the hegemony of the prevailing new-music style that was based on an extension of the serial techniques of the previous generation. This group of composers, loosely referred to as the Cologne School, marked the start of the Neue Einfachheit (New Simplicity) movement which began with a concert series organised by Zimmermann in January 1977. Composers linked with the New Simplicity generally sought a more transparent and direct style, an openness to aspects of tonality and a freedom to use pre-existing material quite in contrast to the intense abstraction of the post-war avant garde.Africa series
Despite having grown up in South Africa, <mask> had little contact with the indigenous music of his homeland due to apartheid strictures which largely prohibited the intermingling of black and white cultures. It wasn't until he was commissioned by Westdeutscher Rundfunk (WDR) to undertake a number of field trips between 1976 and 1979 to South Africa to record various kinds of indigenous African music that he began to actively take an interest in this music. These field trips alerted him to aspects of indigenous African culture, both musical and visual, which he had previously overlooked. He thus set about planning a series of works in which he attempted to reconcile African and European aesthetics. At the start of the series <mask> envisaged that the African source material would be quite recognizable but as the series progressed he would gradually exercise more and more intervention into it so that by the end of the series the African material would be fully assimilated into his own style:

As a political statement, <mask>, as a white South African, felt that the series might lend some sort of contribution to the struggle against apartheid and some performances were met with protests from the musical establishment in South Africa. The most well-known piece from the series is White Man Sleeps (1982) for two harpsichords, viola da gamba and percussion. In this piece <mask> attempted to "Africanize" Western European art music by transferring paraphrases and transcriptions of Venda, San, Nyungwe and Lesotho music, as well as his own material, onto re-tuned period instruments.The subsequent reworking of the piece for a recording by the Kronos Quartet became one of the biggest-selling string-quartet releases of all time. The works immediately following White Man Sleeps, such as the second and third quartets, continue to use some African references, but display an increasing preoccupation with non-directional narratives influenced by the uneven and often random patterns present in African textiles, as well as the open approach to time present in the late works of Morton Feldman. Towards abstraction
Despite the success of the African series, <mask> began to find himself increasingly categorized as an "African" composer—a label which he found creatively restricting. In the late 1980s he began to pursue a new direction, developing a style characterized by an overall tendency towards increasing abstraction occasionally punctuated by works where literal African elements once again re-emerge. This is clearly seen in works such as Chevron (1990) and One Hundred Frames (1991), as well as his opera The Man with Footsoles of Wind (1993) based on the last year of the life of the 19th-century poet Arthur Rimbaud. A parallel development to this was his increasing interest in writing for dance, an art-form particularly suited to <mask>'s open conception of formal structure and he has collaborated with the choreographers Jonathan Burrows, Siobhan Davies and Shobana Jeyasingh. The key work which confirmed this new direction is Cicada (1994) for two pianos, which was inspired by his experience inside one of James Turrell's Skyspaces.The piece involves very gradual adjustments of tone, harmonic colour and tempo being applied to a repeated sonority based on a B-flat major and A major triads. Described by the composer as his first minimalist piece, Cicada'''s reduction in content and largely flat surface is a departure from the generally high degree of activity which marked many of his earlier works. Although there is no recognizably African material present in the piece, the existence of interlocking patterns, inherent rhythms and open non-developmental forms demonstrate how African elements continue to inform his work in a background capacity. In a number of works since Cicada, <mask> limited the content and pursued a similar policy of incremental changes at the margins of the material. The reduction of material in these pieces is even more extreme than in Cicada and exemplifies a tendency which <mask> has described as follows:

Two works in particular demonstrate this tendency – String Quartet No. 6 and the Concerto for Double Orchestra. String Quartet No.6 is not in fact a string quartet at all but a piece for two spatially separated string quartets which can be performed live with both quartets or with one live and the other pre-recorded. The vast majority of the piece consists of just two chords which overlap between both quartets creating a blurring of the harmonies not unlike the blurring of colour fields in the paintings of Mark Rothko, which served as the piece's inspiration. In the Concerto for Double Orchestra (2001) static harmonies are spatially distributed back and forth between a split orchestra with a focus on the "edges" of the chords through accented pizzicatos and dynamics rather than "bleeding" them together. Both of these works demonstrate <mask>'s concerns with moving the site of musical discourse to the margins of the material, a strategy inspired by his lifelong interest in visual art. The music tends to focus on the interplay between dynamics, voicings, register, timbre and types of attack; parameters which are usually considered secondary to larger-scale transformations in the domain of pitch and rhythm. The reduced approach to content directs attention towards changes in the slightest details and encourages a form of engagement perhaps more prevalent in the world of visual art. This tendency towards reduction is not universal, however.Perhaps due to the inherent nature of the medium, <mask>'s concertante works such as the Trio Concerto (2005) and the Piano Concerto No. 2 (2006) are notable for their virtuosic writing and dynamism. <mask>'s most recent work constitutes yet another phase of development. Beginning with The Partenheimer Project (2007), much of the new work explores the interaction between individual parts playing independently of each other to some degree. The Partenheimer Project is spatially separated into three ensembles while both Violin: Piano (2008) and Cello: Piano (2008) contain instruments playing at different tempi propelled for the most part by irregular repetition. The transparent scoring and negation of any sense of goal-orientated progression lends the music a static floating quality. While <mask>'s music has often been viewed as a reaction to the perceived excesses of serialism, it is nevertheless significant that his approach to dynamics and articulation is always structurally rather than expressively directed.In this way, <mask> identifies with the tradition of modernism and his music studiously avoids any lapses into postmodern nostalgia. He has been described by the music critic Kyle Gann as:

In 1997 the BBC Music Magazine listed <mask> as one of the 50 most important living composers. In 1999 the Southbank Centre in London hosted a 50th birthday celebration of his work, for his 60th the Wigmore Hall in London organised a "Kevin Volans Day" of concerts, and in 2019 the Wigmore Hall again had a concert celebrating his 70th birthday. Students

<mask> taught composition at the University of Natal, where he received a DMus in 1986. He was also composer in residence at Queen's University

masks:
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texts:
 Belfast (1986–89) and at Princeton University (1992). Since moving to Ireland in 1985 he has exerted a considerable influence on the direction of music in the country through his teaching. His notable students include, Andrew Hamilton, Jennifer Walshe, Simon O'Connor, Deirdre Gribbin, Elaine Agnew, Deirdre MacKay, Jonathan Nangle and Juergen Simpson.Discography
 She Who Sleeps with a Small Blanket (Robin Schulkowsky, CD, Sony, 1985)
 String Quartet No. 1: 'White Man Sleeps' (Kronos Quartet, CD, Elektra Nonesuch, 1987)
 String Quartet No. 1: 'White Man Sleeps', (Dance no. 1) (Kronos Quartet, CD, Elektra Nonesuch, 1987)
 String Quartet No. 1: 'White Man Sleeps', Mbira, She Who Sleeps with a Small Blanket, White Man Sleeps (Original version) (The Smith Quartet, <mask>, Robert Hill, Margriet Tindemans, Robin Schuikowsky, CD, Landor, 1990)
 'Norwegian Wood: Happiness is a Warm Gun' (Lennon, arr. Volans) (Aki Takahashi, CD, EMI, 1991)
 String Quartet No. 2: 'Hunting Gathering' (Kronos Quartet, CD, Elektra Nonesuch, 1991)
 String Quartet No.1: 'White Man Sleeps' (Kronos Quartet, CD, Elektra Nonesuch, 1992)
 String Quartet No. 3: 'The Songlines' (3 rd movement) (Balanescu Quartet, CD, Argos, 1994)
 String Quartet No. 2: 'Hunting Gathering', String Quartet No. 3: 'The Songlines' (Balanescu Quartet, CD, Decca/Argo, 1994)
 String Quartet No. 5: 'Dancers on a Plane', String Quartet No. 4: 'The Ramanujan Notebooks', Movement for String Quartet (The Duke Quartet, CD, Collins Classics, 1994)
 Mbira (Kevin Volans Ensemble, CD, WDR World Network Recording, 1995)
 White man Sleeps (Guitar version of Dance No. 4) (Tilman Hoppstock, CD, Signum, 1995) Into Darkness (Sequenza, CD, Neuma, 1998)
 This is How it is, Walking song, Leaping Dance, Concerto for Piano and Wind Instruments, Untitled (Netherlands Wind Ensemble, cond.Wim Steinmann and Daniel Harding, CD, Chandos, 1999)
 Cicada, Duets (Mathilda Hornsveld, Jill Richards, CD, Black Box, 2000)
 This is How it is (Netherlands Wind Ensemble, cond. Wim Steinmann, CD, CMC, 2001)
 String Quartet No. 2: 'Hunting; Gathering', String Quartet No. 6, String Quartet No. 1: 'White Man Sleeps' (The Duke Quartet, CD, Black Box, 2002)
 White Man Sleeps (Guitar Quartet Version) (Dublin Guitar Quartet, CD, Grelslate Records, 2005)
 Piano Trio (Fidelio Trio, CD, NMC, 2008)
 Walking Song (David Adams, CD, All Write Music, 2008)
 Akrodha, Asange, She Who Sleeps with a Small Blanket (Jonny Axelsson, CD, 2008)
 The Partenheimer Project (Birmingham Contemporary Music Group, CD, Ikon Gallery/Kunstmuseum Bonn, 2008)
 Four Guitars (Dublin Guitar Quartet, CD, CMC, 2009)

Filmography
 Dance Films by Adam Roberts (Duke Quartet, <mask>ans, DVD, The Jonathan Burrows Group, 1995)
 Zeno at 4am. (Sontonga Quartet, Pumeza Matshikiza, Lwazi Ncube, William Kentridge, DVD, Marian Goodman Gallery, 2002)
 Evidenti: A Film Conceived By Sylvie Guillem (Duke Quartet, DVD, NVC Arts, 1995)

Selected compositions
Stage
 Correspondences, Dance Opera (1990)
 The Man with Footsoles of Wind, Chamber opera (1993)

Orchestra
 One Hundred Frames (1991)
 Concerto for Double Orchestra (2001)
 Strip-Weave for Orchestra (2002–03)
 Symphony: Daar Kom die Alibama (2010)

Soloist with orchestra
 Concerto for Piano and Wind Instruments (1995)
 Cello Concerto (1997)
 Trio Concerto (2005)
 Piano Concerto No. 2 'Atlantic Crossing' (2006)
 Piano Concerto no.3 (2010)
 Chakra for 3 percussionists and Orchestra (2011)
 Piano Concerto no. 4 (2014)
 Concerto for Uilleann Pipes and large Orchestra (2016/17)
 Concerto for solo Percussion and ensemble (2012)

Chamber music
 Matepe (1980)
 White Man Sleeps (1982)
 Walking Song (1984)
 Leaping Dance (1984)
 Kneeling Dance (1984 rev. 1987)
 String Quartet No. 1 'White Man Sleeps' (1986)
 String Quartet No. 2 'Hunting: Gathering'(1987)
 String Quartet No. 3 'The Songlines' (1988 rev. 1993)
 Chevron (1990)
 Cicada (1994)
 String Quartet No.5 'Dancers on a Plane' (1994)
 Untitled (1996)
 String Quartet No. 6 (2000)
 1000 bars (2002)
Chakra for 3 percussionists (2003)
 Piano Trio (2002, rev. 2005)
 Shiva Dances (2006)
 The Partenheimer Project (2007)
 Mr. Handel's Return (2008)
 Violin: Piano (2008)
 Viola: Piano (2008)
 Cello: Piano (2009)
 Trumpet, Vibe, Cello, Piano (2009)
 No Translation (2009)
 Piano Trio No. 2 (2009)
 String Quartet no. 11 (2013)
 Looping Point (2012)
 Turning Point (2013)
 Calefaccion (2013)
 Matepe for Calefax (2013)
 7 Flutes (2014)
 Abhaya (2014)
 7 Bass Winds (2015)
 4 Marimbas (2015)
 String Quartet no. 12 (2015)
 perc : piano 1 (2015)
 Akrodha 3 (2015)
 for Bob (2015)
 perc : piano 2 (2016)
 C.Roll.A.eS.H. (2016)
 cello:piano 2 (2016)
 Spoor (2017)
 Piano Trio no.3 (2017)
 Seven Clarinets and One Flute (2017)
 clarinet:violin:piano (with CPE) (2017)
 Blackbird:Blackbird 1–4 for 2 pianos (2018)

Solo instrumental
 clarinet:solo (2015)
 L'Africaine (2016)

Solo percussion
 She Who Sleeps with a Small Blanket (1985)
 Asanga (1997)
 Akrodha (1998)

Solo piano
 Three Structural Etudes (2004)
 Three Rhythmic Etudes (2003)
 Piano Etudes Nos. 7 & 8 (2008)
 Piano Etude No. 9 (2008)
 3 Books of Piano pieces for 'Young' Players (2012)
 PMB Impromptu (2014)
 Piano Etude No. 10 (2015, withdrawn)
 Piano Etude No. 11 (2015, rev. 2018)
 Piano Etude No. 12 (2015, rev.2018)
 Marabi Nights (2016)
 53,73369155794372 notes a second, for Clare for midi keyboard (2016)

Vocal
 Gloso a lo Divino (2006)
 Canciones del Alma (2009)
 3 Xhosa songs (2012)
 The Mountain that Left (2013)

References

Sources

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Further reading

 Anon. n.d. (a) "Volans, <mask>". CMC Composer Profile. .
 Ballantine, Christopher. 2001–2002. "Christopher Ballantine reviews Cicada". NewMusicSA: Bulletin of the International Society for Contemporary Music – South African Section, First Issue, 7–8. Blake, Michael.1992. "<mask>, <mask>". In Contemporary Composers, eds. Brian Norton and Pamela Collins, 951–952. Blake, Michael. 1993. "Almeida opera: <mask> and Julian Grant".Tempo 186, 52–53. Bräuninger, Jürgen. 1998. "Gumboots to the Rescue". South African Journal of Musicology: SAMUS 18, 1–16. Chatwin, Bruce. 1989."<mask>". In What Am I Doing Here? 63–69. London: Picador. Clarkson Fletcher, J., J. Dazeley, J. Taylor, and E. Wetherall. n.d. "Towards New Models for the Analysis of Post-serial and Post-tonal Music, with Particular Reference to <mask>' White Man Sleeps". In Proceedings of the 25th Annual Congress of the Musicological Society of Southern Africa, Grahamstown, August 1998, ed.W. Lüdemann, 7–18. [Stellenbosch: Musicological Society of Southern Africa.] Fox, James. 1988. "Staging Songlines: Interview". The Village Voice 18, no. 12:138–139, 199, 202.Gaisford, Sue. 1999. "How We Met: Elizabeth Chatwin & <mask>". The Independent (London), 4 July. Gann, Kyle. 1988. "Boston Composers and Kronos Quartets: Fear of Symmetry".The Village Voice (23 February): 76. Gann, Kyle. 1998b. "Consumer Guide". The Village Voice 43, no. 35 (1 September): 64.
 . 2006. "'Zur Freiheit führen viele Wege': Der Componist <mask> über Afrika und die Musikalische Avantgarde".Neue Zeitschrift für Musik 5, September/October, 16–17.}} Loppert, Max. 1993. "Volans: The Man Who Strides The Wind". Opera, 68, 1102–1104. Marcus, Bunita. 1989."Preface". New Observations 67:2. Olwage, Grant. 1999–2000. "Who Needs Rescuing? A Reply to 'Gumboots to the Rescue'". South African Journal of Musicology: SAMUS 19, 105–108.Potter, Keith. 1982. "Repetitive Music Again (and Again)". Classical Music 28 August 1982. Pooley, Thomas M. 2008. "Composition in Crisis: Case Studies in South African Art Music 1980–2006". Unpublished MA Dissertation: University of the Witwatersrand.Rörich, Mary. "Three Rhythmic Etudes. Dublin: Black Sheep Edition, 2002; Three Structural Etudes. Dublin: Black Sheep Edition, 2003" [score review]. South African Journal of Musicology: SAMUS 25, 151–154. Scherzinger, Martin. 2004."Art Music in a Cross-cultural Context: The Case of Africa". In The Cambridge History of Twentieth-century Music, eds. N. Cook and A. Pople, 584–613. Cambridge: Cambridge University Press. Scherzinger, Martin. 2004–2005. "Of Sleeping White Men: Analytic Silence in the Critical Reception of <mask>".NewMusicSA: Bulletin of the International Society for Contemporary Music – South African Section, Third and Fourth Issue, 22–26. Scherzinger, Martin. 2008. "Who's 'White Man Sleeps'? Aesthetics and Politics in the Early Work of <mask>". In Composing Apartheid: Music For and Against Apartheid, edited by Grant Olwage, 209–235. Johannesburg: Wits University Press.Taylor, Timothy D. 2001. "Volans, <mask>". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. Taylor, Timothy D. n.d. "<mask>, <mask>". Grove Music Online, edited by Dean Roote. Walton, Christopher.2002–2003. "<mask> 'String Quartets Nos. 1, 2 & 6'". NewMusicSA: Bulletin of the International Society for Contemporary Music – South African Section, Second Issue'', 22–24. External links

Contemporary Music Centre, composer page
Biography of <mask> at musicsalesclassical.com
Dictionary of African Composers
Field recordings made by <mask> of music from Lesotho and South Africa

1949 births
20th-century classical composers
21st-century classical composers
Alumni of Maritzburg College
Alumni of the University of Aberdeen
Irish classical composers
Living people
Irish male classical composers
People from Pietermaritzburg
Pupils of Karlheinz Stockhausen
South African composers
South African male composers
South African emigrants to Ireland
South African people of British descent
White South African people
20th-century male musicians
21st-century male

masks:
Kevin Volans
Kevin Vol
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Kevin Volans
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Kevin Volans
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Kevin
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Kevin
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Kevin Volans
Kevin Volans


texts:
<mask> (born 7 January 1966) is a Portuguese football agent. He is registered with the Portuguese Football Federation and heads the GestiFute company, founded in 1996. Mendes is among the most influential football agents in the world, with clients including David de Gea, José Mourinho, Diego Costa, James Rodríguez, João Félix and Cristiano Ronaldo. Outside of football, he represents clients such as Formula 1 star Charles Leclerc, triple jump champion Patricia Mamona, surfer Frederico Morais, tennis player João Sousa and the cyclist João Almeida. Mendes is often referred to as a "super-agent". Mendes has been named Best Agent of the Year at the Globe Soccer Awards ten times, from 2010 to 2020. Early career
Mendes Junior began as a footballer but was forced to abandon his hopes of a professional career after being rejected by a number of Portuguese clubs and opened a bar and nightclub.Career as an agent

First deals
<mask>' first deal as a football agent came in 1996 when he brokered Nuno Espírito Santo's move from Vitória de Guimarães to Deportivo de La Coruña. He had met the goalkeeper in a bar in Guimarães. After that deal, Mendes gradually attracted more Portuguese players, including <mask>. Hugo Viana's move from Sporting CP to Newcastle United in the Premier League for around €12 million in 2002 was his first major international transfer. Part of <mask>' success was ostensibly based on his frequent presence at football schools and youth teams throughout Portugal, spotting and signing young players, as he did with Cristiano Ronaldo and Ricardo Quaresma. It has been reported that <mask> came to physical blows at the Portela Airport in Lisbon with Luís Figo's agent, José Veiga, whose influence he was gradually supplanting at this time. <mask> has also been accused by other agents of moving in on their players shortly before agreeing major deals.Mourinho and Chelsea
In 2004, <mask> brokered José Mourinho's move from Porto to manage Chelsea, despite Mourinho already having an agent, José Baidek, whom Mourinho had known since his time at União de Leiria and who had reportedly lined up a move to Liverpool. Mourinho and <mask> negotiated with the agent Pini Zahavi, who acted as Chelsea's representative. The deal established <mask>' importance. He built up a roster of the leading Portuguese players and every Portuguese player that followed Mourinho to Chelsea was a client of <mask>, including Ricardo Carvalho, Paulo Ferreira, Tiago and Maniche. <mask> was paid by Chelsea to act for the player and for the club. GestiFute was also involved in part-owning the economic rights of a number of these players. In July 2003, Porto bought 20% of Brazilian-born Portuguese professional footballer Deco's rights from GestiFute in exchange for €2.25 million, plus 5% of the economic rights for Ricardo Carvalho and Paulo Ferreira.Shortly afterwards, GestiFute sold a further 15% of Deco's economic rights to the club, this time in return for €1.25 million and 10% of striker Benni McCarthy's rights. After Chelsea
After Mourinho's departure from Chelsea in September 2007, <mask> oversaw his move to Inter Milan in 2008 for a fee that made him the highest paid coach in the world, and then, in May 2010, that which saw him move from Inter to become Real Madrid's manager on a four-year contract worth £40 million. In 2008, <mask> also handled the deal that took the manager Luiz Felipe Scolari to Chelsea, negotiating a three-year contract worth between £5.5 million and £6.25 million. At that summer's UEFA Euro 2008 tournament, <mask> had been allowed privileged access to the Portugal national team's hotel by Scolari, who was then managing the national side. Cristiano Ronaldo, Nani, and <mask> oversaw the transfer of Cristiano Ronaldo from Sporting CP to Manchester United for £12.24 million in 2003 and in 2007 those of Anderson and Nani to the same club for £46 million. The Nani transfer reportedly followed only once the player had dropped his existing agent, Ana Almeida. That summer, <mask> was also responsible for the transfers of Pepe to Real Madrid for £25 million and Simão to Atlético Madrid for £16.5 million.<mask>' association with Anderson reflected the connections he established in South America, in which he worked closely with Pini Zahavi. Part of the deal that took Anderson to Manchester United saw his previous club Porto pay <mask> a reported £4 million for his share of Anderson's registration. <mask> was said to have contributed 20% of the £3.75 million Porto paid Grêmio in Brazil to sign the midfielder in 2006. In 2009, <mask> was reported to have made £4 million from Cristiano Ronaldo's £80 million transfer from Manchester United to Real Madrid. Bebé transfer
In August 2010, football agent Gonçalo Reis complained that he had been left on the sidelines when Bebé, a player he represented, was transferred to Manchester United from Vitória de Guimarães. "When <mask> arrived," Reis said, "I was out of the transaction." In July 2010, Reis arranged Bebé's move to Vitória as a free agent from Estrela da Amadora in the semi-professional Portuguese third division after the cancellation of the player's contract due to the club's inability to pay his wages.Manchester United signed Bebé for a reported fee of £7.4 million five weeks later, when he had played just six pre-season friendlies for Vitória. Reis received notification that he had been sacked by Bebé in a letter dated 5 August that arrived two days before the completion of the Manchester United transfer on 11 August. Reis officially took his complaints to FIFA in May 2012. At Vitória's subsequent general meeting, the club's directors revealed that <mask> had received €3.6 million of the €9 million fee from the Bebé transfer, with reports in Portugal suggesting that €2.7 million of that sum came from the 30% of the player's economic rights initially retained by Bebé when he moved to Vitória but bought from the player by Mendes for €100,000. Emilio Macedo, club president of Vitória de Guimarães club, called Mendes "the bulwark of this transfer" and defended the agent, saying, "With all due respect to other agents, this country owes him a lot because he handles large transfers and brings money into the country because this is like an export." The transfer was subsequently investigated by the Portuguese police. Manchester United's then manager, Sir Alex Ferguson, admitted that he had not seen Bebé play before signing the player.He had reportedly been recommended to the club by Carlos Queiroz, who had two spells as assistant manager at Manchester United and who at that time was coach of the Portugal national team. Queiroz's relationship with United had been important in the transfers of Anderson and Nani in 2007; he is also represented by <mask>. 2014 summer transfer window
<mask> brokered four of the seven biggest deals worldwide during the 2014 summer transfer window from which he earned an estimated £30 million. James Rodríguez moved to Real Madrid from Monaco for £63 million, Ángel Di María from Real Madrid to Manchester United for £60 million, Diego Costa from Atlético Madrid to Chelsea for £32 million and Eliaquim Mangala from Porto to Manchester City for £32 million.<ref>"<mask>: the football agent who just won transfer deadline day" by Diego Costa, The Guardian, 2 September 2014</ref>

Third-party ownership accusations
On 22 September 2014, an investigation by The Guardian'' implicated <mask> alongside ex-Manchester United and -Chelsea chief executive Peter Kenyon in breaching FIFA regulations regarding third-party ownership and conflict of interest in player representation, buying player rights through companies based in Jersey and Ireland. This followed another report published in January 2014 suggesting Kenyon's ex-club Chelsea have invested in third-party ownership via <mask> and Kenyon, a practice banned by the Premier League. Chelsea declined to comment on the accusations. On 23 September 2014, UEFA announced their intention to crack down on the practice of third-party ownership.Wolverhampton Wanderers
After the takeover of English Championship club Wolverhampton Wanderers by Fosun International, <mask> was implemented as an agent for the club. Along with the help of team general manager Andrea Butti and sporting director Kevin Thelwell, 12 players were signed within six weeks during the 2016 summer transfer window. Tax avoidance
In December 2016,  leaked documents suggested that <mask> was involved in a massive tax avoidance scheme with both Mourinho and Ronaldo accused of not paying taxes by using offshore accounts. Swansea City
Mendes began working with Premier League club Swansea City during the January 2018 transfer window, assisting the club in identifying players for newly-appointed manager Carlos Carvalhal. Previously, he brought Portugal under-21 midfielder Renato Sanches to the club, on loan from Bayern Munich, in August 2017. Cycling
On January of 2021, <mask> got into the world of cycling with his sports marketing company Polaris Sports partnering with Corso Sports, which sees Portuguese riders Joao Almeida and Ruben Guerreiro promoted by the team. GestiFute and CAA
In 2008, GestiFute announced that it had entered into partnership with Creative Artists Agency (CAA) in the United States to "create global opportunities for current and future clients", following CAA's expansion into the sports market.References

External links
Official GestiFute Website

1966 births
Living people
Businesspeople from Lisbon
Portuguese businesspeople
Association football agents

masks:
Jorge Paulo Agostinho Mendes
Mendes
Jorge Andrade
Mendes
Mendes
Mendes
Mendes
Mendes
Mendes
Mendes
Mendes
Mendes
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Anderson Mendes
Mendes
Mendes
Mendes
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Jorge Mendes
Jorge Mendes
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texts:
<mask> (May 27, 1939 – September 11, 2001) was an American soldier, police officer, educator, and private security specialist of British origin. He served as a British Army paratrooper during the Cyprus Emergency and a commissioned officer in the United States Army during the Vietnam War. He rose to the rank of colonel in the Army before entering the private sector, where he worked in corporate security. As the director of security for the financial services firm Morgan Stanley at the World Trade Center, Rescorla anticipated attacks on the towers and implemented evacuation procedures credited with saving thousands of lives. He died during the attacks of September 11, 2001, while leading evacuees down the stairwells of the South Tower. Early life
Rescorla was born in Hayle, Cornwall, on May 27, 1939. He grew up there with his grandparents and his mother, who worked as a housekeeper and companion to the elderly.In 1943, during World War II, Hayle served as headquarters for the 175th Infantry Regiment of the U.S. 29th Infantry Division, largely composed of U.S. soldiers from Maryland and Virginia preparing for the D-Day invasion of Normandy. Young Rescorla idolized the U.S. soldiers and wanted to become a soldier because of them. Rescorla was a natural sportsman, setting a school record in the shot put, and was an avid boxer. When a professional boxing match was scheduled between a British boxer and a U.S. heavyweight contender named Tami Mauriello, his friends backed the Briton. Rescorla said "I'm for Tammy" [sic] and after Mauriello won the fight everyone in Hayle knew him as "Tammy". Military and police career

British military
In 1956, at age 16, Rescorla left Hayle to join the army. At the time, Britain practiced conscription (known as National Service), which required every young man to serve for two years in the Armed Forces.<mask>, however, chose instead to volunteer. This required him to serve three years as the conditions for volunteers were considered to be better than those of conscripted soldiers. He enlisted in the British Army in 1957, training as a paratrooper with The Parachute Regiment and then serving with an intelligence unit in Cyprus during the EOKA Cypriot insurgency from 1957 to 1960. <mask>'s British medals included the General Service Medal with clasp Cyprus. General Service Medal with clasp Cyprus

Northern Rhodesia and Metropolitan Police Services
At the end of his Short-Service Commission, <mask> joined the Northern Rhodesia Police (now the Zambia Police Service) as a police inspector on a three-year contract from 1960 to 1963, experiences that made him a fierce anti-Communist. It was during the latter post where he met and forged a "life-altering friendship" with American soldier Daniel J. Hill, who encouraged Rescorla to join the U.S. Army after he chose to accept discharge from the British rather than turn his guns on fellow white colonists resisting independence. On returning to London he joined the Metropolitan Police Service.He later moved to the United States after being unable to settle down in London, being interested in fighting instead. U.S. military
Upon arrival in the United States, Rescorla lived at a YMCA hostel in Brooklyn until he was able to enlist in the army. "<mask>", as he would thereafter be known, enlisted in the United States Army in 1963 and after basic training at Fort Dix, he attended Officer Candidate School and airborne training at Fort Benning. Upon graduation, Rescorla was assigned as a platoon leader in the 2nd Battalion, 7th Cavalry Regiment, 1st Cavalry Division (Airmobile). Rescorla was sent to Vietnam, where he served under the command of Lieutenant Colonel Hal Moore. The two participated in the 1965 Battle of Ia Drang, which Moore would later describe in a 1992 book he co-authored We Were Soldiers Once… And Young, (from which the 2002 Mel Gibson film We Were Soldiers would be adapted); Rescorla is the soldier pictured on the book jacket cover. Co-author Lieutenant General Hal Moore described him as "the best platoon leader I ever saw".Rescorla's men nicknamed him "Hard Core" for his bravery in battle and revered him for his good humor and compassion toward his men; Rescorla jokingly called his platoon "Hard Corps". He is also mentioned in the book Baptism by Larry Gwin who also fought at Ia Drang. The fourteenth chapter of the book Rescorla's Game describes him as the "Cornish Hawk". Despite this tough image, according to his second wife and widow <mask> in her book, Touched by a Hero, music was "so central" to <mask>'s life that he sang to his troops in Vietnam to calm them – something he would later employ during 9/11 evacuations. In the 1965 Vietnam battle, Rescorla sang the Australian version of Wild Colonial Boy to give confidence to his troops. Rescorla's Vietnam War honors included the Silver Star, the Bronze Star with Oak Leaf Cluster, a Purple Heart and the Vietnamese Cross of Gallantry. Silver Star
  Bronze Star with one Oak Leaf Cluster
  Purple Heart
  Vietnamese Cross of Gallantry

He left active duty in 1967 and reached the rank of Colonel in the United States Army Reserve before retiring from the military in 1990.In April 2001, Rescorla was chosen for induction into the Infantry Officer Candidate School Hall of Fame and was invited to participate in ceremonies at Fort Benning. Post-military career

Education and teaching
After service in Vietnam, Rescorla returned to the U.S. and used his military benefits to study creative writing at the University of Oklahoma, eventually earning a Bachelor of Arts degree, followed by a Master of Arts degree in English, and his law degree from the Oklahoma City University School of Law. He then moved to South Carolina, where he taught criminal justice at the University of South Carolina for three years and published a textbook on the subject. Corporate security
Rescorla left teaching for higher-paying jobs in corporate security. Moving to New Jersey in 1985, he joined Dean Witter Reynolds at their offices at the World Trade Center in Manhattan. After the 1988 bombing of Pan Am Flight 103 over Lockerbie, Scotland, Rescorla worried about a terrorist attack on the World Trade Center. Because his old American friend from Northern Rhodesia, Daniel Hill, was trained in counterterrorism, in 1990 Rescorla asked him to visit the World Trade Center to assess its security.When Rescorla asked Hill how he would attack the building were he a terrorist, Hill asked to see the basement, and after the two walked down to the basement parking garage without being stopped by any visible security, Hill pointed to an easily accessible load-bearing column, and said, "This is a soft touch. I’d drive a truck full of explosives in here, walk out, and light it off." That year, Rescorla and Hill wrote a report to the Port Authority of New York and New Jersey, which owns the site, insisting on the need for more security in the parking garage. Their recommendations, which would have been expensive to implement, were ignored, according to James B. Stewart's biography of Rescorla, Heart of a Soldier. In the 1993 World Trade Center bombing, terrorists would detonate a truck bomb 30 feet from where Rescorla and Hill had predicted. Following the 1993 bombing, Rescorla invited Hill to New York, where he hired him as a security consultant in order to analyze the building's security. Although no arrests had yet been made in the case, Rescorla suspected that the bomb had been planted by Muslim terrorists, probably Palestinians, or that an Iraqi colonel of engineers might have orchestrated the attack.Hill let his beard grow and visited several mosques in New Jersey, showing up for morning prayers at dawn. Speaking fluent Arabic, he took on the character of an anti-American Muslim  in order to infiltrate and interview the other visitors to the mosques. He concluded that the attack was likely planned by a radical imam at a mosque in New York or New Jersey. Subsequently, followers of Sheikh Omar Abdel Rahman, a Brooklyn-based radical Muslim cleric, were convicted of the bombing. Rescorla gained credibility and authority after the bombing, which resulted in a change to the culture of Morgan Stanley. <mask> wanted the company out of the building because he continued to feel, as did Hill, that the World Trade Center was still a target for terrorists and that the next attack could involve a plane crashing into one of the towers. He recommended to his superiors at Morgan Stanley that the company leave Manhattan office space, mentioning that labor costs were lower in New Jersey and that the firm's employees and equipment would be safer in a proposed four-story building.However, this recommendation was not followed because the company's lease at the World Trade Center would not terminate until 2006. At Rescorla's insistence, all employees (including senior executives) then practiced emergency evacuations every three months. After Dean Witter merged with Morgan Stanley in 1997, the company eventually occupied 22 floors in the South Tower and several floors in a building nearby. Rescorla's office was on the South Tower’s 44th floor. Feeling that the authorities lost legitimacy after they failed to respond to his 1990 warnings, he concluded that employees of Morgan Stanley, which was the largest tenant in the World Trade Center, could not rely on first responders in an emergency and needed to empower themselves through surprise fire drills, in which he trained employees to meet in the hallway between stairwells and go down the stairs two by two to the 44th floor. Rescorla's strict approach to these drills put him into conflict with some high-powered executives, who resented the interruption to their daily activities, but he nonetheless insisted that these rehearsals were necessary to train the employees in the event of an emergency. He timed employees with a stopwatch when they moved too slowly and lectured them on fire emergency basics.In a 1998 interview conducted on the 44th floor of the World Trade Center that was later incorporated into the short film Voice of the Prophet, which premiered at the 2002 Sundance Film Festival, <mask> recounted his experiences in battle and warned that American military actions abroad could spur retaliation by enemies of the United States. He said, "Terrorist forces can tie up conventional forces and bring them to their knees. Just one man willing to give his life for what he believes in, chooses the time and place and there is no way that any soldiers can

masks:
Cyril Richard Rescorla
Rescorla
Rescorla
Rescorla
Rick
Susan Rescorla
Rick
Rescorla
Rescorla


texts:
 be 100% alert." Rescorla and Hill were also critical of the police response during the 1999 Columbine High School massacre, commenting, "The police were sitting outside while kids were getting killed. They should have put themselves between the perpetrators and the victims. That was abject cowardice." Rescorla felt that if he and Hill were younger, they "could have flown to Colorado, gone in that building, and ended it before the law did."September 11, 2001

At 8:46 A.M. on the morning of September 11, 2001, American Airlines Flight 11 struck the North Tower of the World Trade Center (WTC 1). Rescorla heard the explosion and saw the tower burning from his office window in the 44th floor of the South Tower (WTC 2). When a Port Authority announcement came over the P.A. system urging people to stay at their desks, and before United Airlines Flight 175 would strike the South Tower at 9:03 A.M., Rescorla ignored the announcement, grabbed his bullhorn, walkie-talkie, and cell phone, and began systematically ordering the roughly 2,700 Morgan Stanley employees in the South Tower to evacuate, in addition to the employees in WTC 5, numbering around 1,000. While watching the news coverage, in a phonecall to his best friend, Dan Hill, Rescorla said, "The dumb sons of bitches told me not to evacuate," and, "They said it's just Building One. I told them I'm getting my people the fuck out of here." He directed people down a stairwell from a bottleneck on the 44th floor, keeping people away from elevators while telling them to remain calm.Rescorla had boosted morale among his men in Vietnam by singing Cornish songs from his youth, and now he did the same in the stairwell, singing songs such as one based on the Welsh song "Men of Harlech":

Men of Cornwall stop your dreaming;

Can't you see their spearpoints gleaming? See their warriors' pennants streaming

To this battlefield. Men of Cornwall stand ye steady;

It cannot be ever said ye

for the battle were not ready;

Stand and never yield! Between songs, Rescorla called his wife, telling her, "Stop crying. I have to get these people out safely. If something should happen to me, I want you to know I've never been happier. You made my life," and Susan replied, "You made my life, too" before the phone went dead.After successfully evacuating almost all of Morgan Stanley's 2,700 employees, he went back into the building. When one of his colleagues told him he too had to evacuate the World Trade Center, Rescorla replied, "As soon as I make sure everyone else is out." He was last seen on the 10th floor of the South Tower, heading upward, shortly before its collapse at 9:59 A.M., 56 minutes after being struck by United Airlines Flight 175. A total of 13 Morgan Stanley employees died in the September 11 attacks, including Rescorla, his deputies Wesley Mercer and Jorge Valezquez, and security guard Godwin Forde, who had collectively stayed behind to help others. Rescorla was declared dead three weeks after the attacks. Although medical examiners continued to identify victims of the attacks from recovered remains as late as September 2021, as of that date, none have been identified as those of Rescorla. Personal life
Rescorla and his first wife, Betsy, met as students at the University of Oklahoma.They married in Dallas in 1972. Their first child was born in South Carolina in 1976. Their second child was born in 1978, while they were living in Chicago. The family then moved to New Jersey. <mask> and Betsy divorced after their children were grown. In 1994, <mask> was diagnosed with prostate cancer and underwent surgery to remove his prostate. Initially, the prognosis was positive, but by 1998 the cancer had spread to his bone marrow.He underwent treatment, which involved painful injections directly into his stomach every month and taking prescribed medications that dehydrated him and caused his body to swell. He also employed traditional Chinese medicine and meditation. In late July 1998, Rescorla met his second wife, Susan Greer, while jogging near her Morristown, New Jersey home. She was an assistant to a dean at Fairleigh Dickinson University and a twice-divorced mother of three daughters. Rescorla had been living in the area to be near his children after his divorce. Susan first spoke to him to ask him why he was jogging barefoot, a practice common in Northern Rhodesia, where few natives wore shoes and which he had adopted out of curiosity. Rescorla also mentioned to Greer that he was writing a play, Mkubwa Junction, which was set in Northern Rhodesia and based on his time there.The two moved into a Morristown townhouse together that October. They were married on February 20, 1999, in St. Augustine, Florida, where his longtime friend Daniel Hill had lived since 1975. Hill would serve as Rescorla's best man for the second time. Rescorla also chose St. Augustine because he wanted to be married somewhere near the sea, to remind him of his homeland of Cornwall. They later honeymooned in Hayle, Cornwall, in May 2000. During this time, Rescorla exhibited a positive outlook about his cancer. Rescorla was fond of the food and the culture of the Portuguese community in Newark, New Jersey and was learning to speak Portuguese, in addition to Arabic.He also was fascinated with the American West and was interested in experiencing the spiritual aspects of Amerindian culture. He and Susan participated in yoga, ballroom dancing, and studying Italian together. Rescorla was survived by his wife, Susan, his two children, and his three stepdaughters by Susan. Rescorla had requested that he be cremated, and his ashes be strewn in Hayle. Having revered the eagle as a symbol of both American freedom and Native American mysticism, he had also told Susan that when he died he wanted her to contribute money to an endowment for eagles. Memorials and tributes

Rescorla was uncomfortable about being portrayed as a war hero. Although he had given some interviews to his Vietnam commander, Harold Moore, for his 1992 book, We Were Soldiers Once… And Young, Rescorla chose not to read it when he saw that its cover featured a combat photograph of him.When he learned that the book was being made into a film starring Mel Gibson, he told his wife Susan that he had no intention of seeing it, as he felt uncomfortable with anything that portrayed him or other survivors as war heroes, commenting, "The real heroes are dead." Nevertheless, Rescorla's activities during the September 11 attacks were quickly brought to national attention by the news media, including a detailed account by Michael Grunwald in the October 28, 2001 edition of The Washington Post of Rescorla's life and "epic death, one of those inspirational hero-tales that have sprouted like wildflowers from the Twin Towers rubble." Other memorials and tributes to Rescorla include:

 At a small, brief memorial service attended by family and a few close friends on October 27, Susan recited "The White Rose", a Cornish folk song that Rescorla was fond of, and a hawk that had recently been restored to health was released into freedom. The Morristown police paid tribute to Rescorla at a fundraising dinner. <mask> donated <mask>'s dark green Lincoln Mark VIII, which had been left in the station parking lot, to be auctioned off for charity as a "hero’s car." The town of Hayle, Cornwall also held a memorial service that was attended by the head of Morgan Stanley in London. Several days after the Hayle service, a tribute for the attacks’ British victims was held at Westminster Abbey and attended by Queen Elizabeth.Rescorla was honored with the White Cross of Cornwall/An Grows Wyn a Gernow award from his native Cornwall in 2003 by the Revived Cornish Stannary Parliament. In 2009, a statue of Rescorla was unveiled on The Walk Of Honor at the National Infantry Museum at Fort Benning, Georgia. On November 11, 2009, Rescorla was inducted into the Oklahoma Military Hall of Fame. At the National September 11 Memorial & Museum, Rescorla is memorialized at the South Pool, on Panel S-46. The <mask>a National Award for Resilience was created by the Department of Homeland Security to "recognize outstanding response to a catastrophic incident and leadership in fostering resilient and prepared communities." On April 13, 2019, at the Long Rock train depot in Rescorla's native Cornwall, a new class 802 train was named "<mask> Rescorla" in a ceremony that also named another train the "Solomon Browne", after the lifeboat and crew lost in the Penlee lifeboat disaster. On September 11, 2019, President Donald Trump announced that Rescorla would be honored with the Presidential Citizens Medal, which was presented to Susan at a White House ceremony on November 7.In 2021, legislation introduced by State Senator Anthony M. Bucco to designate May 27 as “Richard Rescorla Day” in New Jersey unanimously passed in the New Jersey Senate. Post-9/11 media coverage

 Rescorla was the subject of a 2002 biography, Heart of a Soldier by James B. Stewart. Rescorla was the subject of a 2005 documentary entitled The Man Who Predicted 9/11. The film was shown on Channel 4 in the UK and the History Channel in the United States. Amanda Ripley's 2008 book, The Unthinkable: Who Survives When Disaster Strikes—and Why, profiles Rescorla. Stewart's book became the basis of an opera of the same name by Christopher Theofanidis. It was premiered by the San Francisco Opera on September 10, 2011, in a production starring Thomas Hampson as Rescorla.See also

John P. O'Neill, former FBI agent and WTC head of security who died in the attacks on 9/11

References

External links

The Richard Rescorla Memorial Foundation

Voice of the Prophet - a 1998 Video interview with <mask>a
"The Real Heroes are Dead" – The New Yorker
"B.A. of the Week Tribute"
American Legion memorial pages:
Post 44
Post 149

1939 births
2001 deaths
People from Hayle
American people of Cornish descent
British emigrants to the United States
United States Army personnel of the Vietnam War
American terrorism victims
British colonial police officers
British Parachute Regiment soldiers
British terrorism victims
Metropolitan Police officers
Terrorism deaths in New York (state)
People murdered in New York (state)
United States Army officers
University of Oklahoma alumni
Victims of the September 11 attacks
World Trade Center
Recipients of the Gallantry Cross (Vietnam)
Recipients of the Silver Star
Oklahoma City University School of Law alumni
Morgan Stanley employees
Northern Rhodesia people
Battle of Ia

masks:
Rescorla
Rescorla
Susan Rescorla
Rick Rescorla
Rick Rescorl
Rick
Rick Rescorl