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 club went on to win the trophy after beating AC Horsens 1–0.At the end of the 2011–12 season, <mask> went on to make thirty–six appearances and scoring nine times in all competitions. In the 2012–13 season, <mask> was featured in the first two league matches of the season. He played in both legs against Club Brugge in the third qualifying round of the UEFA Champions League, as they won 3–2 on aggregate. His first goal for the club this season came on 25 August 2012, in a 3–2 win over Randers. However, <mask>'s first team opportunities became limited, having fallen out with new Manager Ariël Jacobs, as well as, his own injury concern when he suffered a back injury. At one point, Jacobs said that Ottesen has an unprofessional attitude, which contributed to their fallen out. Despite making two rare appearances later in the 2012–13 season, the club, once again, won the league.At the end of the 2012–13 season, he went on to make nine appearances and scoring once in all competitions. It was announced on 10 June 2013 that <mask> will be leaving Copenhagen, as his contract expires at the end of the 2012–13 season. Although he ruled out joining another Danish club, he was linked with a move back to Sweden, with Djurgården interested in signing him. During his time at Copenhagen Sölvi played an important role with the champions, making 43 appearances in the Danish Superliga with a tally of 8 goals. Ural

On 1 August 2013, he moved to Russia by signing a two-year contract to Ural. In an interview with Morgunblaðið, Sölvi described that he "immediately took pleasure in the Russian Premier League. This really is a great adventure.To play in such a challenging football league makes it even more fun. I am facing very strong opponents every week; some world-class players in bigger teams such as Zenit, CSKA Moscow and Rubin Kazan". However, <mask>'s debut suffered a setback when he suffered an injury that kept him out for a month. It wasn't until on 30 September 2013 when <mask> made his Ural debut, starting the whole game, in a 1–1 draw against FC Rostov. Since joining the club, <mask> quickly became a first team regular for the side, playing in the centre–back position. His performance, at one point, saw him named the club's Player of the Month for November and December. <mask> set up the club's second goal of the game for Denis Dorozhkin, who scored a winning goal, in a 2–1 win over Kuban Krasnodar on 10 May 2014.Despite being sidelined on two occasions later in the 2013–14 season, he helped the side finish eleventh place in the league and finished his first season, making eighteen appearances. In the 2014–15 season, <mask> continued to be in the first team regular for the side, playing in the centre–back position. However, during a match Torpedo Moscow on 16 August 2014, he scored an own goal to give the opposition team a 2–0 lead in stoppage time, as Ural lost 2–0. Despite being sidelined on two occasions, <mask> went on to make fifteen appearances for the side. By the time he departed the club, <mask> made 33 appearances for Ural in the Russian Premier League. Jiangsu Sainty
On 14 February 2015, Sölvi transferred to Chinese Super League side Jiangsu Sainty, signing a two–year contract with the club. <mask> made his Jiangsu Sainty debut in the opening game of the season against Shanghai SIPG, starting the whole game, in a 2–1 loss.After missing two matches with a groin injury, he scored on his return, in a 2–1 win over Shijiazhuang Ever Bright on 5 April 2015. His second goal for the club came on 27 June 2015, in a 4–1 loss against Shanghai SIPG. He later scored two more goals later in the season. He celebrated his 7th career title in winning the Chinese FA Cup with Jiangsu under coach Dan Petrescu after beating Shanghai SIPG 1–0 on aggragate when the match in the second leg went extra time. At the end of the 2015 season, <mask> went on to make thirty–one appearances and scoring four times in all competitions. Wuhan Zall
On 4 February 2016, <mask> transferred to China League One club Wuhan Zall. He made his Wuhan Zall debut, starting the whole game, in a 1–1 draw against Beijing Sport University in the opening game of the season.<mask> then set up an equalising goal for Guto, in a 1–1 draw against Tianjin Tianhai on 22 May 2016. <mask> captained the side for the first time, where he helped the side keep a clean sheet, in a 0–0 draw against Qingdao Huanghai on 12 June 2016. He scored his first goal for the club, in a 4–2 loss against Beijing Sport University on 3 July 2016. <mask> later scored two more goals later in the 2016 season against Qingdao Huanghai and Shanghai Shenxin. However, his playing time was reduced, due to his suspension that saw him banned for three matches. <mask> made 23 appearances while getting on the scoresheet three times in the 2016 season with Wuhan Zall and filing for 6th place in the league. At the end of the 2017 season, the club announced his departure along with Guto and Michael Barrantes.Buriram United
On 6 February 2017, it was announced that Thai League 1 side Buriram United had completed the signing of the Icelandic defender from Chinese League One club Wuhan Zall. In doing so, <mask> became the first Icelandic footballer to play in the Thai League 1 division. Upon joining the club, he said: "There was an invitation from Thailand that I was excited about and I just jumped on this offer from Buriram United". In taking on yet another challenge in entering Thai League 1, <mask> made 12 appearances scoring one goal, which he scored on his debut against Chonburi in the opening game of the season. Despite his departure on 18 June 2017, <mask>, nevertheless, received a medal when Buriram United were the league winners. Guangzhou R&F
Halfway through the China Super League season, on 13 July 2017, it was reported that <mask> would make his return to China, this time to help Guangzhou R&F in the top flight. It came after when the club was interested in signing him.<mask> made his Guangzhou R&F debut, starting the whole game, in a 3–2 loss against Changchun Yatai on 16 July 2017. He then scored his first goal for the club, in a 4–1 win over Liaoning on 6 August 2017. However, he was sent–off for a second bookable offence, in a 2–0 loss against Guizhou Hengfeng on 13 August 2017. After making five appearances for Guangzhou R&F, the side finished 5th in the league table in the 2017 season. It was announced on 23 November 2017 that <mask> departed Guangzhou R&F to return to his homeland. Víkingur
On 1 January 2018, Sölvi returned to the club he played for as a youth, Víkingur, signing a three-year deal. <mask> made his first appearance for the club since leaving fourteen years ago, appearing as captain against Valur and started the whole game, as Víkingur drew 0–0 in the opening game of the season.<mask> started in every match since making his debut and performed impressively. This last until he suffered an injury early in the game against Valur on 22 July 2018, resulting in his substitution. Following this, <mask> was sidelined for the rest of the season. At the end of the 2018 season, he went on to make fifteen appearances in all competitions. At the start of the 2019 season, <mask> managed to recover from his injury and started the season well when he scored in the opening game of the season, in a 3–3 draw against Valur. His second goal of the season came on 15 May 2019, in a 4–3 loss against Stjarnan. However, in a 1–0 loss against KR Reykjavík on 25 May 2019, he was sent–off for a professional foul in the 77th minute.A month later, <mask> scored his third goal of the season, in a 3–2 win over ÍBV in the quarter–finals of the Icelandic Cup. Since returning to the first team, he continued to regain his first team place and retaining his captaincy. On 14 September 2019, he captained his side to triumph as they won the 2019 Icelandic Cup, their first trophy in forty–eight years after beating Fimleikafélag Hafnarfjarðar 1–0. At the end of the 2019 season, <mask> went on to make twenty–four appearances and scoring three times in all competitions. Following this, <mask> was named Viking athlete of the year at the club's award ceremony in Reykjavik. The start of the 2020 season saw <mask> regained his first team place, as well as, his captaincy for Víkingur. However in a match against KR Reykjavík on 4 July 2020, he received a straight red card in the 78th minute, as the club lost 2–0.After serving a three match suspension, <mask> returned to the starting line–up for a match against Grótta, as KR Reykjavík drew 2–2 on 23 July 2020. He then scored his first goal of the season, in a 4–2 loss against Breiðablik on 16 August 2020. <mask>, once again, was sent–off in the 5th minute of the game against Olimpija Ljubljana in the first round of the UEFA Europa League, as the club lost 2–1, eliminating KR Reykjavík from the tournament. After missing two matches due to fitness concern, he returned to the starting line–up against ÍA, as the club drew 2–2. KR Reykjavía avoided relegation when the abandoned on 30 October 2020 due to the COVID-19 pandemic, resulting in the club finishing in tenth place. At the end of the 2020 season, <mask> went on to make fifteen appearances and scoring once in all competitions. Following this, he went on a successful operation on his injury.In 2021, in his final season, he went on to win both the league and the cup in Iceland. International career

In August 2004, <mask> was called up to the Iceland U21 squad for the first time  He made his debut for the U21 side against Estonia U21, as Iceland U21 lost 2–1. <mask> went on to make eleven appearances for the U21 side. On 29 September 2005, <mask> was called up by Iceland for the first time. He made his first appearance against Poland on 7 October 2005, starting the whole game, in a 3–2 loss. After three years away from the national team, <mask> was called up by Iceland once again and started the whole game, in a 1–0 win over Malta on 19 November 2008. In September 2010, he captained the national side on two occasions against Norway and Denmark.<mask> captained the side two more times the following year and assisted two times, in a 5–3 loss against Portugal on 7 October 2011. However, in a match against Cyprus on 11 September 2012, <mask> was sent off in the 86th minute for a professional foul, as Iceland lost 1–0. Following the match, he served a two match suspension. It wasn't until on 14 November 2012 when <mask> returned from suspension, starting the whole match, in a 2–0 win over Andorra. His latest appearances came a decade later against Latvia in October 2015 and Finland in January 2016. In November 2017, <mask> announced his retirement from international football. He has been capped twenty-eight times for Iceland.Career Statistics

Personal life
Ottesen was married to Sandra Karlsdóttir and together, they had three children. Ottesen revealed that one of his children has been diagnosed with autism. During his early football career, he worked full time at a liquor store. In April 2017, Ottesen purchased a mansion in Fossvogur and resided there since returning from China and Thailand. Honours

Club
Víkingur FC
Icelandic Cup: 2019
Icelandic Premier Division: 2021
Icelandic Cup: 2021
 FC Copenhagen
 Danish Superliga: 2010–11, 2012–13
 Danish Cup: 2011–12

 Djurgårdens IF
 Allsvenskan: 2005
 Svenska Cupen: 2004, 2005

 Jiangsu Sainty
 Chinese FA Cup: 2015

References

External links

 Danish Superliga statistics
 Solvi Ottesen World Football Statistics

1984 births
Living people
Solvi Ottesen
Association football defenders
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Djurgårdens IF Fotboll players
SønderjyskE Fodbold players
F.C. Copenhagen players
FC Ural Yekaterinburg players
Jiangsu F.C. players
Wuhan F.C.players
Solvi Ottesen
Guangzhou City F.C. players
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Allsvenskan players
Danish Superliga players
Russian Premier League players
Chinese Super League players
China League One players
Solvi Ottesen
Expatriate footballers in Sweden
Solvi Ottesen
Expatriate footballers in Denmark
Solvi Ottesen
Expatriate footballers in Russia
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Expatriate footballers in China
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<mask> (born 1951) is a New Zealand sociologist and professor at Massey University where his specialist area is social change and demography and how this impacts policy decisions at the political level. <mask> has led numerous externally funded research programmes, written or edited twenty-seven books and is a regular commentator in the news media. Educated both in New Zealand and England, his work on racism, immigration and ethnicity is widely discussed in the wake of the Christchurch mosque shootings (2019) and the COVID-19 pandemic. Career
From 1974 to 1978, <mask> was Teaching Fellow, Department of Sociology, University of Auckland and part-time Lecturer, School of Architecture and Department of Town Planning, University of Auckland. He began lecturing at Massey University in 1979 and was the college's Research Director and Auckland Regional Director until 2013 when he became Pro Vice-Chancellor of the university's College of Humanities and Social Sciences. He is a Fellow of the Royal Society of New Zealand, and a member of the Max Planck Institute for the Study of Religious and Ethnic Diversity. In 2010 he was a Fulbright Senior Scholar at the University of California Berkeley where he completed research on second-generation cultural identities of children of American and New Zealand Immigrants.In 2019, he stepped down from his position as Pro Vice-Chancellor at Massey University and has reverted to a position as a research professor in the college to allow him to re-focus on writing and research. Selected research
The Institute of Labor Economics (IZA) is a nonprofit research institute that works internationally with scholars and focuses on labour economics. Spoonley joined IZA as a Research Fellow in January 2013, and in the same year, worked with Trudie Cain on a discussion paper that explored the importance of immigrant entrepreneurs being embedded in their own social networks but also in the socio-economic and politico-institutional environment of New Zealand as their new country. Superdiversity, social cohesion, and economic benefits (2014) was a paper by Spoonley that summarised key findings of the pros and cons of  superdiversity created by increased numbers of immigrants and minority ethnic groups in a culture. Nga Tangata Oho Mairangi (2014–2021), funded by the Ministry of Business, Innovation and Employment (MBIE), is a project mapping the regional impacts of demographic and economic change on Auckland and other regions from 1986 to 2013, and to provide projections out to 2038. Spoonley contributed to a literature review on Immigrant Entrepreneurship and Tax Compliance (2013) to clarify the issues around compliance for immigrants in New Zealand, and in 2014, co-authored Temporary Migrants as Vulnerable Workers: A literature review. The review concluded that although more research is needed, there is evidence that in some industries temporary migrant workers are vulnerable in work situations that can be hazardous and in which they may be exploited by their employers.Other research conducted by Spoonley while working with Nga Tangata Oho Mairangi, included Population Change and Its Implications: Auckland (2016), and Population Change and Its Implications: Southland (2017). The purpose of the research was to gather and interpret data to inform discussion about how the areas were managing rapidly growing and changing populations. The data for each of these reports were collected by household interviews, employer surveys and school focus groups. Capturing the Diversity Dividend of Aotearoa New Zealand (2014–2021) was an MBIE-funded research programme, aimed at identifying how New Zealand can better prepare for changes resulting from demographic challenges including migration, ethnic diversity, population ageing, changing fertility patterns and urban growth. In this project Spoonley worked with Robin Peace and produced the article "Social Cohesion and Cohesive Ties: Responses to Diversity". <mask> participated in the Integration of Immigrants Programme (2007 – 2012), a five-year research initiative funded by the Foundation for Research, Science and Technology (FRST) to gain a better understanding of the economic integration of immigrants into New Zealand. A document, to which Spoonley contributed, explained that the  programme had the "key aim of contributing to progressive improvements in the utilisation of immigrant human capital, to the advantage of migrants specifically and New Zealand society more generally."B'nai B'rith is an international not-for-profit Jewish community services organisation that supports human rights and anti-discrimination and has a branch in New Zealand. <mask>, on behalf of B'nai B'rith,  was one of a team, including Jim Salinger that completed four surveys of the New Zealand Jewish community, the last one published in 2020. Right-wing populism, racism and the alt-right became an area of interest to Spoonley while studying at the University of Bristol in 1976. As a result of several incidents involving racist violence that happened close to where he was staying, Spoonley was inspired to become an "academic specialist in Right-wing hate." In 1980 he published an article that showed how the ideology of the National Front, a right-wing group in England was reflected in the keywords of the headlines of their publications. Sixty-six per cent of the items had racial cue words that were linked to "conflict disagreement words" such as "threat" and "invade." In 2018 <mask> wrote an article about the history of the alt-right and some of the ideas behind it.He noted that the term applies to a loose coalition of "ultra-nationalists, white supremacists, neo-Nazis and anti-Semites" and first appeared in the United States in 2008, attributed to Richard B. Spencer a neo-Nazi who believed in eugenics and ethnic cleansing to make the United States a white ethno-state. The movement got more exposure in 2016 when Steve Bannon  established Breitbart, a right-wing news network. On the day following the Christchurch mosque shootings (16 March 2019), Spoonley summarised some of his research on the extreme right-wing in New Zealand. He noted that while public surveys such as those conducted annually by The Asia New Zealand Foundation did show a majority of New Zealanders support diversity and see immigration from Asia as being beneficial to the country, "extremist politics, including the extreme nationalist and white supremacist politics that appear to be at the core of this attack on Muslims, have been part of the New Zealand community for a long time." Through the 1980s Spoonley looked at more than 70 groups in New Zealand that held extreme right-wing views with ideologies based on anti-Semitism and the supremacy of the "British race". By the 1990s the internet and social media were playing a role in spreading these ideas and Islamophobia was now supplementing anti-Semitism. In 2018 he conducted a project on hate speech examining what some New Zealanders were saying online and concluded [that] "it did not take long to discover the presence of hateful and anti-Muslim comments."<mask> later shared with RNZ that the far right in New Zealand was now more technologically sophisticated, connected to international networks and actively trying to get involved in mainstream politics. <mask> retired from his position as Pro Vice-Chancellor at Massey University in 2019 to work on a book in which he expressed concerns with the "far right, and particularly ultra-nationalists and white supremacists being reinvented as the Alt-Right...[and becoming]... much more successful in influencing mainstream debate and political actors." Sharing an opinion piece in 2020, Spoonley argued that far-right extremism "remains a high-level threat in New Zealand." In 2020, <mask> published an article in which he recalled how in 2010, during his time at the University of Berkeley, he became aware of a political movement called the Tea Party that had "established a legacy of radical populism and, among its more extreme members, a new form of white identity politics." He was concerned at the degree that radical right-wing groups were using the internet to influence people and this came more into focus after the Christchurch mosque shootings in 2019. On 10 March 2020, a New Zealand news service Stuff discussed a document allegedly prepared by a neo-nazi group Action Zealandia that told its members to refuse any interviews and detailed the powers of the New Zealand Security Intelligence Service (SIS), the Government Communications Security Bureau (GSSB) and a special investigation group established by the New Zealand Police, which according to the manual was trained to "coerce" information from people. Spoonley commented that this was more comprehensive  than anything he had previously researched and made the point it indicated that there is a "degree of sophistication, especially in relation to online far-right activities, which is new and concerning."Public policy positions
On immigration in New Zealand, <mask> has advocated for a population policy to manage immigration and find the balance between the numbers and meeting labour and skill demands and argued that the country should have set a target of net migration each year to be around one per cent of the population. Issues included a dropping fertility rate and an ageing population in New Zealand; where immigrants might live; deficits in infrastructure and how temporary work visas were managed in terms of a possible transition to permanent residency. There was also the need to address issues around how immigrants were viewed by the local population and including building awareness of the value of diversity and social inclusion and deal with extremism that created anxiety through such things as hate speech and xenophobia. He noted that there hadn't been a discussion about this  since the mid 1970s, and argued that COVID-19 had highlighted how complex the situation was and the importance of having a "comprehensive and informed discussion about population change and options." In the light of the Christchurch mosque shootings (2018), Spoonley was critical of New Zealand's complacency about the potential threat from far-right groups, including neo-Nazi and extreme nationalists, and a year on from the Christchurch mosque shootings estimated that there could be 150 – 300 right-wing activists in New Zealand and that the Christchurch attacks were not a "one-off or an aberration – rather than something we still need to guard against." As a result of the  "demographic disruption" that happened with regard to immigration in New Zealand because of restrictions put in place to manage the COVID-19 pandemic, Spoonley questioned whether the country could maintain the positive social bonds built during the pandemic into a future that will have further issues to manage in unemployment and housing. He also expressed it was important to acknowledge the number of New Zealanders returning to their home country during the COVID-19 pandemic.Spoonley had concerns that political rhetoric could damage the reputation of New Zealand as a country that was welcoming and tolerant. He said he was "very disappointed with the level of the debate generally...[but it was necessary]... to have a discussion about immigration because it's now very important to this country, in terms of both its social and economic impacts." Spoonley said that immigrants have contributed considerably to New Zealand society and that in spite of some challenges, immigrant communities were now getting large enough to sustain businesses. Spoonley has said that Maori as tangata whenua of New Zealand could be more involved in policymaking in immigration and  take an obvious role in welcoming immigrants to New Zealand, giving the example of how a  Maori tribe Ngati Whatua ki Kaipara had engaged with Chinese immigrants, teaching them te reo Maori, waiata and haka. Commentary on COVID-19

Affect on diversity
In 2020 <mask> was involved in a survey that identified the three most important diversity issues in Kiwi organisations as being wellbeing, gender equity and bias and he noted that the disruptions of COVID-19  had caused further challenges that needed to be solved collectively to emerge into the "new normality". The survey paper concluded:"This report is being released as New Zealand is in lockdown as part of the country’s response to the threat posed by Covid-19. This will disrupt and change work in ways that are still not fully understood – and which might not be fully realised for some time.One assumption is that the changing nature of work will be accelerated by what has been required during the lockdown. Working remotely using new technologies is one example. What will happen to the recognition and responses to diversity that are reported here? Will issues of diversity become less or more important? The responses to the 2021 survey will measure just how disruptive Covid-19 will be on New Zealand organisations and firms. As always, it will be important to gather data on what is happening in the diversity space and to report on the trends over time." Impact on immigration
Early in the COVID-19 pandemic in New Zealand, Spoonley said that the response of the New Zealand Government to immigration was still unclear and depended on what other countries did, noting measures taken in the USA and Hungary as an excuse to curtail migration and take a punitive approach.He expressed a concern that while New Zealand was a very diverse country, immigrants could be adversely affected and it would depend on the resilience, networking, collaborative capabilities and resourcing of the ethnic communities to manage the situation. Spoonley highlighted the important role of media in sharing information in an informed and truthful way that acknowledged and reflected the diverse voices  in an "altered media landscape...[and]...provide bridges within and between communities." In May 2021, the New Zealand Government announced an immigration reset that reduced the immigrant numbers. Stuart Nash the Economic Development Minister said it was a response to the threat of COVID-19 and an opportunity get a balance for foreign labour while encouraging incentives to upskill local workers. There were mixed responses to the measure including that it was "scapegoating migrants for problems with housing, infrastructure and working conditions", that it lacked detail and would not address the worker shortage. Spoonley however, said that the high numbers of temporary and permanent workers entering New Zealand over recent years had probably not been sustainable, put pressure on infrastructure and by being over-reliant on cheap foreign labour, had diverted a focus on developing new technology to increase productivity - a situation that Spoonley said was [possibly} "preventing New Zealand preparing for an entirely different and fast-approaching future." The Productive Commission conducted an inquiry before the reset was announced and their findings were released in November 2021.Spoonley said that the report showed a tightening up of policy settings around temporary workers and the opportunity for them to transition to residency and "suggest[ed] that some industries might...[have needed]...to justify why they’re on the skills shortage list...[in effect]...tying migration more to demand in the local labour market." Selected publications
Sustaining Aotearoa New Zealand as a Cohesive Society (2021). Co-authored by Spoonley this publication critically examines the presumption that in New Zealand as a liberal  democracy, decisions are made by accountable leaders whose choices are based on facts and evidence. Social cohesion in a democratic society is defined as high levels of trust and respect between people and institutions in all areas of life, in particular when involving execution of power and recognition of diversity and inclusion. The paper acknowledges the challenges to social cohesion in the 21st century and concludes that New Zealand, like other countries, needs to continuously improve, adapt, and self-correct  through cooperation,  transparency and an openness to different views. In reference to the paper, on One News, Spoonley noted the potential for COVID-19 to "impact health and economic and social security...[potentially]...amplifying existing inequalities...[and]...frustration over the consequences of Government-imposed controls, the role of disinformation, and the increasingly siloed way people were accessing information." Spoonley, in another news item on Newshub about the paper, also made a connection between social cohesion in New Zealand and the obligations under the Treaty of Waitangi.The New New Zealand – The Demographic Disruption We're Not Talking About (2020). Authored by <mask>, this book examines data on the demographic transition of New Zealand and how the speed of this has made the formulation of social policy difficult. When discussing this book in an interview on RNZ, Spoonley said that New Zealand needs to do some rapid forward planning to deal with the fast-changing demographics. In an interview with Massey University Press, Spoonley said he hoped people took away from the book that we need to "factor in demographic change into our policy and political discussions — and we need new policies to cater for the circumstances we face in the 21st century." Racism and Stereotypes (2019). Exploring Society: Sociology for New Zealand Students, 4th Edition (2019). The politics and construction of identity and childhood: Chinese immigrant families in New Zealand (2017).Renegotiating citizenship: Indigeneity and superdiversity in contemporary Aotearoa/New Zealand. In J. Mann (Ed.) Citizenship in *Transnational Perspective: Australia, Canada, and New Zealand (2017). Rebooting the Regions: Why low or zero growth needn't mean the end of prosperity (2016) <mask> edited this book and in a discussion on Radio New Zealand said that addressing the issue of young adults leaving the regions because of the growing labour markets in the cities, might need a "managed decline" that created people-policies focussed on developing strategies and creative options to attract them back. He said it was possible to manage the demographic changes in the regions creatively. New Zealanders’ attitudes to Asia and Asian peoples: An exceptional case?(2015). New diversity, old anxieties in New Zealand: the complex identity politics and engagement of a settler society (2014).Mata Toa The Life and Times of Ranginui Walker (2009). This is a biography of an academic, author, commentator and radical leader who has influenced the views held by Pakeha New Zealanders of Māori people. As an activist Walker, organised the Young Maori Leaders conference in 1970 which led to the formation of Nga Tamatoa. Writing in The Journal of the Polynesian Society, Rawiri Taonui from the Auckland University of Technology, questioned why a Pākehā should  write this  biography. He concluded that Walker and Spoonley "shared an academic kinship.... Walker's has been the most influential Māori pen on Māori-Pākehā  relations and <mask>, who has written and edited 26 books, the most influential Pākehā  writer on general New Zealand race relations." Ethnic and religious intolerance (2011, reviewed and revised 2018). Reporting Superdiversity.The Mass Media and Immigration in New Zealand (2009). This article examines the role of the media in reporting on the diversity in New Zealand that was happening as a result of immigration. Social Policy Critical Issues in New Zealand Society (1992). This book co-edited by <mask>,  examines the welfare state in New Zealand in terms of the effectiveness of the help it offers. The Politics of Nostalgia: Racism and the extreme right in New Zealand (1987). Awards
<mask> was a recipient of the New Zealand Commemoration Medal, Government of New Zealand in 1990. A fellow of the Royal Society of New Zealand, in 2009 Spoonley was awarded the Royal Society of New Zealand Science and Technology medal in recognition of his academic scholarship, leadership and public contribution to cultural understanding.In 2011, his contribution to Sociology was acknowledged with the Sociological Association of Aotearoa New Zealand's scholarship for exceptional service to New Zealand sociology. References

1951 births
Living people
Massey University faculty
New Zealand sociologists
Fellows of the Royal Society of New Zealand
21st-century social scientists
20th-century social scientists
Political sociologists

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<mask> (; born 1935) is a Karachi born, London-based conceptual artist, sculptor, painter, writer, and curator. He graduated in civil engineering from the NED University of Engineering and Technology in 1962, and has been working as a visual artist bridging life, art and activism since his arrival in London from Pakistan in 1964. Art career
<mask> was pursuing a career as an engineer in Karachi when he was first exposed to avant-garde art. This arrived through two channels: imported Western books and magazines and contact with Pakistani contemporary artists. Consequently, he decided to pursue art-making and embarked on a second career. Upon arriving in London in 1964, he began working as an artist without any formal training, producing sculptures influenced by Minimalism and the work of Anthony Caro alongside his engineering experience. By his own account, works created or imagined in this period such as Chakras (1969-1970) and Zero to Infinity (1968-2004), while using basic structural units such as cubes, lattice and discs, were process-based and open to transformation by "the creative energy of the collective".Concepts of this period would make ripple effects throughout his career, both formally and politically. Chakras, the 16 red painted circular discs released on the water from Saint Katherine's Dock in 1970, would later evolve and give rise to the concept of Disco Sailing (1970–74), a new form between floating sculpture and dance. The work was revisited and resurrected many times through the decades and performed most recently at Garage Museum in Moscow in 2019. Starting from the 1970s <mask> was increasingly concerned with questions of Postcolonialism as he struggled with the Eurocentrism of institutions. Centering around issues of identity, representation and racial violence, he created the performance Paki Bastard, Portrait of The Artist as a Black Person (1977) using video projection, live performance and sound. He complemented this with writing statements and manifestos, which he considered to be a "textual form of art". He also often traveled back to Karachi and make frequent visits to Baluchistan as a "return to the source".These travels have prompted in interest around land art and environmental issues described as "Ecoaesthetics" in his 2010 publication Art Beyon Art. <mask> participated in Les Magiciens de la Terre (1989); 2nd Johannesburg Biennale (1997), 11th Biennale of Sydney (1998), 9th Shanghai Biennale (212), 9th Gwangju Biennale (2012), 57th Venice Biennale (2017) and documenta 14 (2017). In December 2017 a major retrospective of <mask>'s work which spotted 60 years of his work was presented at Van Abbemuseum in Eindhoven and then toured to MAMCO in Geneva, the BALTIC in Gateshead, and Garage Museum in Moscow. Publishing
<mask>'s artistic activity has been complemented by writing and publishing. He founded and began editing the journal Black Phoenix in 1978, which came to an abrupt end after three issues. In 1987 he founded the groundbreaking journal Third Text. Third World Perspectives on Contemporary Art and Culture, dealing with art, the Third World, Postcolonialism and ethnicity.In the first decade of its publication, the main aim was to reveal "the institutional closures of the art world and the artists they included, the second began the inquiry into the emergent phenomenon first signaled by the notorious show Magiciens de la terre of the assimilation of the exotic other into the new world art," as Sean Cubitt summarized the goals in the Third Text Reader in 2002. In 1999 <mask> spoke about his own journal Third Text as an attempt to "demolish the boundaries that separate art and art criticism". Some of <mask>'s contributions to Third Text were "From Primitivism to Ethnic Arts / & / Why Third Text? ", Third Text #1, Autumn 1987; "Our Bauhaus Others' Mudhouse" [the Magiciens de la terre issue], Third Text #6, Spring 1989 and "Modernity, Modernism and Africa's Authentic Voice", Third Text Vol 24 #2, 2010. <mask> has been among the first cultural practitioners to voice since the early 1970s the need of artists of African, Latin American and Asian origins to be represented in British cultural institutions.His approach allowed him to shape his ideas through a number of different media: he curated exhibitions; initiated and published a number of journals, produced art installations and community-based artistic projects. Prior to founding the journal Black Phoenix, in 1972, he joined the Black Panther Movement and wrote "Preliminary Notes For A Black Manifesto" in 1975–76. In the years that followed, he became an important figure in establishing a black voice in the British arts through his activities as a publisher, writer, and artist. In 1988 he curated the exhibition The Essential Black Art. This provided a foretaste of The Other Story, a larger 1989 exhibition featuring artists including <mask> himself, Frank Bowling, Sonia Boyce, Eddie Chambers, Uzo Egonu, Mona Hatoum, Lubaina Himid, Gavin Jantjes, Donald Locke, David Medalla, Ronald Moody, Ahmed Parvez, Ivan Peries, Keith Piper, F. N. Souza and Aubrey Williams. A groundbreaking exhibition of British African, Caribbean and Asian modernism, The Other Story was mounted at the Hayward Gallery, South Bank Centre, and went on to Wolverhampton Art Gallery and Manchester City Art Gallery and Cornerhouse. In 2001 he was invited by the Kunsthaus Bregenz in Austria to publish his institutional critique of the present art museum in the publication The Museum as Arena.<mask> published the outcome of his private correspondence with the Ikon Gallery in Birmingham, which had asked him to join an exhibition in 1980 (also published in Rasheed <mask>, Making Myself Visible). His proposal was declined when the other ten artists refused to show their work alongside his. Their opposition not only manifested cultural conflicts, but was also meant to defend the purity of the gallery space where Araeen had proposed to perform the slaughter and consumption of a goat (according to a Muslim ritual). Along with the actual performance, he had announced that he would display and tear up "the pages of a contemporary art history book". Thus, the action directed against the exclusionary aesthetics of the art gallery was complemented with a rejection of the official story of modernist art and avant-garde history. In 2019 he opened Shamiyaana, a restaurant/space where people can enjoy simple, vibrant, nourishing, low-cost food in an environment purpose-designed for conversation and eating. References

Sources
Making Myself Visible (London: Kala Press, 1984)
From Modernism to Postmodernism: Rasheed <mask>: a Retrospective, exhibition catalogue, essays by P. Bickers, J. Roberts, and D. Phillipi (Birmingham: Ikon Gal., 1987)
From Two Worlds (London: Whitechapel Art Gallery, 1986)
Global Visions: Towards a New Internationalism in the Visual Arts (London: Kala Press, 1994)
Rasheed <mask>, exhibition catalogue, essay by P. Overy (London: S. London A. G., 1994)

External links

 Third Text Online
 Tate Gallery Web Site
 "From Innovation to Deconstruction: My Own Story".Work's list of Araeen

1935 births
Pakistani artists
Pakistani emigrants to the United Kingdom
Naturalised citizens of the United Kingdom
English curators
Pakistani art curators
English people of Pakistani descent
Artists from London
University of Karachi alumni
Living people
British artists of Pakistani descent
NED University of Engineering & Technology alumni

masks:
Rasheed Araeen
Araeen
Araeen
Araeen
Araeen
Araeen
Araeen
Araeen
Araeeneen
Araeen
Araeen
Araeen
Araeen
Araeen


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<mask> (April 10, 1924 – January 5, 2010) was an American painter. He was one of the best-known American Color Field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s he was thought of as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977, he was honored by a major retrospective at the Solomon R. Guggenheim Museum in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, D.C. and Ohio's Toledo Museum of Art in 1978. In 2006, Noland's Stripe Paintings were exhibited at the Tate in London. Early life and education

A son of <mask> (1896–1975), a pathologist, and his wife, Bessie (1897–1980), <mask> was born in Asheville, North Carolina. He had four siblings: David, Bill, Neil, and Harry Jr.

Noland enlisted in the U.S. Air Force in 1942 after completing high school.As a veteran of World War II, Noland took advantage of the G.I. Bill to study art at the experimental Black Mountain College in his home state of North Carolina. At Black Mountain, where two of his brothers also studied art, Noland studied with Ilya Bolotowsky, a professor who introduced him to neoplasticism and the work of Piet Mondrian. Noland also studied Bauhaus theory and color there under Josef Albers and became interested in Paul Klee—specifically Klee's sensitivity to color. Career

In 1948 and 1949 Noland worked with Ossip Zadkine in Paris, and had his first exhibition of his paintings there. After returning to the U.S., he taught in Washington, D.C. at Catholic University (1951–1960) and the Institute of Contemporary Arts. In the early 1950s he met Morris Louis in D.C. while teaching night classes at the Washington Workshop Center for the Arts.He became friends with Louis, and after being introduced by Clement Greenberg to Helen Frankenthaler and seeing her new paintings at her studio in New York City in 1953, he and Louis adopted her "soak-stain" technique of allowing thinned paint to soak into unprimed canvases. Most of Noland's paintings fall into one of four groups: circles (or targets), chevrons, stripes and shaped canvases. His preoccupation with the relationship of the image to the containing edge of the picture led him to a series of studies of concentric rings or bullseyes, commonly referred to as targets, which, like the one reproduced here called Beginning from 1958, used unlikely color combinations. This also led Noland away from Morris Louis in 1958. In 1964, he was included in the exhibition Post-Painterly Abstraction curated by Clement Greenberg, which traveled the country and helped to firmly establish Color Field painting as an important new movement in the contemporary art of the 1960s. Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons. In these paintings, the edges of the canvas become as structurally important as the center.During the 1970s and 1980s his shaped canvases were highly irregular and asymmetrical. These resulted in increasingly complex structures of highly sophisticated and controlled color and surface integrity. Instead of painting the canvas with a brush, Noland's style was to stain the canvas with color. This idea sought to remove the artist through brushstrokes. This made the piece about the art, not the artist. He emphasized spatial relationships in his work by leaving unstained, bare canvas as a contrast against the colors used throughout his paintings. Noland used simplified abstraction so the design would not detract from the use of color.Noland's students included the sculptor Jennie Lea Knight, and painter Alice Mavrogordato. Personal life

Noland was married to:

 Cornelia Langer, a daughter of a Republican U.S. senator from North Dakota, William Langer. The couple married in 1950 and later divorced. They had three children: daughters Cady and Lyndon (a.k.a. Lyn) and a son, William. Stephanie Gordon, a psychologist, lived with Noland from November 1964 until June 1970. They married in April 1967 and divorced in June 1970.Peggy L. Schiffer, an art historian and daughter of Dr. Morton A. Schiffer. Married circa 1970, the Nolands had one son, Samuel Jesse. Paige Rense, editor in chief of Architectural Digest, whom he married in Bennington, Vermont on April 10, 1994. Noland was her fifth husband; her previous spouses included Arthur F. Rense. Noland had an affair in the 1960s with artist and socialite Mary Pinchot Meyer. Death

Noland died of kidney cancer at his home in Port Clyde, Maine, on January 5, 2010 at the age of 85. Exhibitions

Noland had his first solo exhibition at Galerie Raymond Creuze in Paris in 1948.In 1957, he had his first New York solo exhibition at the Tibor de Nagy Gallery. In 1964, Noland occupied half the American pavilion at the Venice Biennale. In 1965, his work was exhibited at the Washington Gallery of Modern Art and the Jewish Museum (New York). Noland's final solo exhibition, <mask>d Shaped Paintings 1981–82, opened on October 29, 2009 at the Leslie Feely Fine Art Gallery on East 68th Street in New York City and was scheduled to close on January 9, 2010 (though the closing date was later extended to January 16). In 2010, Noland was honored with a solo presentation of his work at the Guggenheim Museum, entitled <mask>, 1924–2010: A Tribute. In addition, his work has been the subject of solo exhibitions at a range of international institutions, including the Museo de Arte Moderno, Mexico City (1983); Museo de Bellas Artes de Bilbao, Bilbao, Spain (1985); Museum of Fine Arts, Houston (2004); Tate, Liverpool (2006); and Butler Institute of American Art, Youngstown, Ohio (1986 and 2007). Selected museum collections

 Albright-Knox Art Gallery, Buffalo, New York
 Art Institute of Chicago, Chicago, Illinois
 Australian National Gallery, Canberra
 Baltimore Museum of Art, Baltimore, Maryland
 Butler Institute of American Art, Youngstown, Ohio
 St. Louis Art Museum, St. Louis, Missouri
 Cleveland Museum of Art, Cleveland, Ohio
 Columbus Gallery of Fine Arts, Columbus, Ohio
 Corcoran Gallery of Art, Washington, DC.Des Moines Art Center, Des Moines, Iowa
 Detroit Institute of Arts, Detroit, Michigan
 Art Gallery of South Australia, Adelaide
 Fogg Art Museum, Cambridge, Massachusetts
 Governor Nelson A. Rockefeller Empire State Plaza Art Collection, Albany, New York
 Hirshhorn Museum and Sculpture Garden, Washington, D.C.
 Kunsthaus, Zurich
 Kunstmuseum, Basel
 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
 Los Angeles County Museum of Art, California
 Louisiana Museum, Humlebaek, Denmark
 Metropolitan Museum of Art, New York
 Milwaukee Art Museum, Milwaukee, Wisconsin
 Minneapolis Institute of Arts, Minneapolis, Minnesota
 Centre Georges Pompidou, Paris
 Boston Museum of Fine Arts, Boston, Massachusetts
 Museum of Modern Art, New York
 National Gallery of Art, Washington, D.C.
 North Carolina Museum of Art, Raleigh, North Carolina
 Norton Simon Museum, Pasadena, California
 Phillips Collection, Washington, D.C.
 Rose Art Museum, Brandeis University, Waltham, Massachusetts
 Solomon R. Guggenheim Museum, New York
 Stedelijk Museum, Amsterdam
 Tate Gallery, London
 Wadsworth Atheneum, Hartford, Connecticut
 Walker Art Center, Minneapolis, Minnesota
 Whitney Museum of American Art, New York

Selected works

Notes

References

 Gowing, L (ed.) 1995, A Biographical Dictionary of Artists, Rev. edn, Andromeda Oxford Limited, Oxfordshire. Further reading

 "<mask>d." Contemporary Artists, 4th ed. St. James Press, 1996. Reproduced in Biography Resource Center.Farmington Hills, Mich.: Thomson Gale. 2005. "<mask>d: Color, Format and Abstract Art." Interview by Diane Waldman (1977), in: Theories and Documents of Contemporary Art, edited by K. Stiles and P. Selz, Berkeley: University of California Press, 1996, pp. 94–98. "<mask>d." Encyclopedia of World Biography, 2nd ed.17 Vols. Gale Research, 1998. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2005. "Painting: Bold Emblems", an 18 April 1969 profile of <mask>d in Time magazine
 "Art: Pure, Uncluttered Hedonism", a 2 May 1977 review of <mask>'s work by Robert Hughes of Time magazine
 "Painting: Peacock Duo", an 8 May 1965 examination of <mask>'s work

External links

 <mask> in the National Gallery of Australia's <mask> collection
 Tate08 Series: <mask>d: The Stripe Paintings exhibition at Tate Liverpool, England, 2006
  TheArtStory.com/<mask>d
   <mask>d at The Phillips Collection
 New York Times artblog by Roberta Smith
 Noland's works at the Solomon R. Guggenheim Museum
 New York Times Obituary
 Washington Post Obituary
 The Guardian Obituary and letter from Anthony Caro
 The Independent Obituary

American contemporary painters
20th-century American painters
American male painters
Abstract painters
Minimalist artists
Abstract expressionist artists
Artists from New York (state)
Painters from North Carolina
United States Army Air Forces personnel of World War II
Members of the American Academy of Arts and Letters
Black Mountain College alumni
Artists from Asheville, North Carolina
Military personnel from North Carolina
Deaths from cancer in Maine
Deaths from kidney cancer
1924 births
2010 deaths
20th-century American printmakers

masks:
Kenneth Noland
Harry Caswell Noland
Kenneth Clifton Noland
Kenneth Nolan
Kenneth Noland
Kenneth Nolan
Kenneth Nolan
Kenneth Nolan
Kenneth Nolan
Kenneth Noland
Kenneth Noland
Kenneth Noland
Kenneth Tyler
Kenneth Nolan
Kenneth Nolan
Kenneth Nolan


texts:
<mask> MBE (born 23 September 1941) is an English jazz singer and lyricist. In a career spanning more than 50 years she is best known for her wordless improvisations. Musicians with whom she has worked include Michael Garrick, John Surman, Michael Gibbs, Mike Westbrook, as well as pianist John Taylor, who was her former husband. Biography

Early years and education
Born as <mask> in Bow, East London, England, she was 10 years old when her family moved to Dagenham, Essex. Encouraged by her primary school teacher, she applied for and won a scholarship to attend Saturday-school at Trinity Music College, and after passing her 11-plus exams, she went to Dagenham County High School (where Dudley Moore was then a senior pupil). Like Moore, her music teacher there was Peter Cork (1926-2012). At the age of 17 she discovered jazz, listening to Ella Fitzgerald and Oscar Peterson being played on Radio Luxembourg.Career
Winstone began singing in bands around Dagenham in the early 1960s, and has said of her early experiences: "I've always been on the edge, always felt like I was swimming against the tide and somehow couldn't stop. I met a pianist called Chris Goody and we'd get together and play things. He knew Margaret Busby who was in a publishing company called Alison and Busby. She also wrote lyrics for tunes like 'Naima'. I was inspired by her, though I didn't write words myself at that time, I didn't think I could." Winstone first attracted attention when in the late 1960s she appeared at Ronnie Scott's Jazz Club sharing the bill with Roland Kirk. Interviewed in 2020, she said: "I went along to a gig at the Charlie Chester Club and I sat in with a drummer called John Stevens and he was incredibly enthusiastic and jumped up and said, 'I'm going to tell Ronnie Scott about you, he should give you an audition!'... Eventually, I went to the club, and after reminding Ronnie that eight months before he promised to invite me for an audition, we got it and he gave me four weeks there opposite Roland Kirk. I think I was on cloud nine...." This led to her first radio BBC broadcast, which by chance was heard by singer Carmen McRae on a visit from the US, who met Winstone and was interviewed for a jazz magazine with her. Winstone joined Michael Garrick's band in 1968. Her first recording came the following year, with Joe Harriott and Amancio D'Silva, on Hum-Dono (reissued in 2015). In 1971 she was voted top singer in the Melody Maker Jazz Poll. She recorded the album Edge of Time under her own name in 1972.Winstone contributed vocals to Ian Carr's Nucleus on that band's 1973 release Labyrinth, a jazz-rock concept album based on the Greek myth about the Minotaur. Winstone has worked with many major European musicians and visiting Americans, as well as with most of her peers in British jazz, including Garrick, John Surman, Michael Gibbs, Mike Westbrook and her former husband, the pianist John Taylor. With Taylor and trumpeter Kenny Wheeler she performed and recorded three albums for ECM as a member of the trio Azimuth between 1977 and 1980; their fifth and last album How It Was Then… Never Again (1995) was given four stars by DownBeat magazine. Her own 1987 album Somewhere Called Home, also released on the ECM label, has often been called "a classic". The review by AllMusic said: "It's not only a watermark of Winstone's career but, in the long line of modern vocal outings released since the romantic vocal tradition of Fitzgerald and Vaughan ended with free jazz and fusion, the disc stands out as one most original yet idyllic of vocal jazz recordings. ... A must for fans looking for something as cozy as a golden age chanteuse, but without all the gymnastic scatting and carbon copy ways of many a contemporary jazz singer." In addition, she made albums with the American pianists Jimmy Rowles – Well Kept Secret, recorded in 1993 – and Fred Hersch.On Well Kept Secret Winstone sang lyrics she had written to Rowles' composition "The Peacocks", which she had heard on the Bill Evans album You Must Believe in Spring (1981). With the title "A Timeless Place", Winstone's lyrics were subsequently recorded by others, including Mark Murphy. Well respected as a lyricist, she has also written words to tunes by Ralph Towner, Egberto Gismonti, Ivan Lins, Steve Swallow, and other musicians. In 2001, Winstone was honoured as "Best Vocalist" in the BBC Jazz Awards, also being nominated in 2007 and 2008. In February 2018, Winstone released Descansado: Songs for Films, a collection that AllMusic described as "an unusual and provocative album". Personal life
In 1972, Winstone married pianist John Taylor, whom she had met in 1966; they divorced after some years, although they later continued their musical partnership. Their two sons, Alex and Leo, are both musicians."10 Tracks by <mask>e I Can't Do Without… by vocalist/composer Nicky Schrire", London Jazz News, 20 May 2021. 1941 births
Living people
British women jazz singers
English jazz singers
English lyricists
Members of the Order of the British Empire
Azimuth (band) members
Nucleus (band) members
ECM Records artists
EmArcy Records artists
Sunnyside Records artists
Alumni of Trinity Laban Conservatoire of Music and Dance
20th-century English women singers
20th-century English singers
21st-century English women singers
21st-century English singers
Edition Records artists

masks:
Norma Ann Winstone
Norma Ann Short
Norma Winston


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<mask> (March 18, 1941 – January 19, 2006) was an American singer and songwriter. A major figure in the development of American soul music, <mask> recorded over 50 songs which made the US R&B charts, many of which crossed over to the Billboard Hot 100. Among his best-known hits are "In the Midnight Hour" (which he co-wrote), "Land of 1,000 Dances", "634-5789 (Soulsville, U.S.A.)", "Mustang Sally", "Funky Broadway", "Engine No. 9", and "Don't Knock My Love". <mask> was inducted into the Rock and Roll Hall of Fame in 1991, in recognition of his impact on songwriting and recording. Biography

Early life and family
<mask> was born March 18, 1941 in Prattville, Alabama, and sang in Baptist church choirs. He was the fourth of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now.She used to hit me with anything, skillets, stove wood ... [one time I ran away and] cried for a week. Stayed in the woods, me and my little dog." <mask> eventually left to live with his father in Detroit in 1955. Early musical career (1955–1964)
<mask>'s forceful, passionate style of singing was developed in the church and on the streets of Detroit, under the influence of recording stars such as Little Richard, whom he referred to as "the architect of rock and roll." In 1955, <mask> joined the Violinaires, a gospel group. The Violinaires played with another gospel group on concert tour in America. After singing for four years in the popular gospel-harmony group, <mask>, lured by the success of gospel singers who had moved to the lucrative secular music market, joined the Falcons in 1959.By 1959, <mask> recorded the song "Let Me Be Your Boy" with the Primettes as background singers. The song is the B-side of his 1963 single "My Heart Belongs to You". The Falcons were an early vocal group bringing gospel into a popular context, thus paving the way for soul music. The group featured notable members who became major solo artists; when <mask> joined the group, Eddie Floyd and Sir Mack Rice were members. <mask>'s biggest success with the Falcons was "I Found a Love", co-written by <mask> and featuring his lead vocals. While only a minor hit for the Falcons, it paved the way for <mask> to embark on a solo career. <mask> later had a solo hit with a re-recorded two-part version of the song, included on his 1967 album The Sound of Wilson Pickett.Soon after recording "I Found a Love", <mask> cut his first solo recordings, including "I'm Gonna Cry", in collaboration with Don Covay. <mask> also recorded a demo for a song he co-wrote, "If You Need Me", a slow-burning soul ballad featuring a spoken sermon. <mask> sent the demo to Jerry Wexler, a producer at Atlantic Records. Wexler gave it to the label's recording artist Solomon Burke, Atlantic's biggest star at the time. Burke admired <mask>'s performance of the song, but his own recording of "If You Need Me" became one of his biggest hits (#2 R&B, No. 37 pop) and is considered a soul standard. <mask> was crushed when he discovered that Atlantic had given away his song.When <mask>—with a demo tape under his arm—returned to Wexler's studio, Wexler asked whether he was angry about this loss, but denied it saying "It's over". <mask>'s version was released on Double L Records and was a moderate hit, peaking at No. 30 R&B and No. 64 pop. <mask>'s first significant success as a solo artist came with "It's Too Late," an original composition (not to be confused with the Chuck Willis standard of the same name). Entering the charts on July 27, 1963, it peaked at No. 7 on the R&B chart (#49 pop); the same title was used for <mask>'s debut album, released in the same year.Compiling several of <mask>'s single releases for Double L, It's Too Late showcased a raw soulful sound that foreshadowed the singer's performances throughout the coming decade. The single's success persuaded Wexler and Atlantic to buy <mask>'s recording contract from Double L in 1964. Rise to stardom: "In the Midnight Hour" (1965)
<mask>'s Atlantic career began with the self-produced single, "I'm Gonna Cry". Looking to boost <mask>'s chart chances, Atlantic paired him with record producer Bert Berns and established songwriters Barry Mann and Cynthia Weil. With this team, along with arranger, conductor Teacho <mask> recorded "Come Home Baby," a duet with singer Tami Lynn, but this single failed to chart. <mask>'s breakthrough came at Stax Records' studio in Memphis, Tennessee, where he recorded his third Atlantic single, "In the Midnight Hour" (1965). This song was <mask>'s first big hit, peaking at #1 R&B, #21 pop (US), and #12 (UK).It sold over one million copies, and was awarded a gold disc. It garnered <mask> his first Grammy nomination for Best Rhythm & Blues Recording at the 8th Annual Grammy Awards. The genesis of "In the Midnight Hour" was a recording session on May 12, 1965, at which Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, including bassist Donald "Duck" Dunn. (Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the M.G. 's, did not play on the studio sessions with <mask>.) Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?" He performed a dance step.Cropper explained in an interview that Wexler told them that "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes." Stax/Fame years (1965–1967)
<mask> recorded three sessions at Stax in May and October 1965. He was joined by keyboardist Isaac Hayes for the October sessions. In addition to "In the Midnight Hour," <mask>'s 1965 recordings included the singles "Don't Fight It," (#4 R&B, No. 53 pop) "634-5789 (Soulsville, U.S.A.)" (#1 R&B, No. 13 pop) and "Ninety-Nine and a Half (Won't Do)" (#13 R&B, No.53 pop). All but "634-5789" were original compositions which <mask> co-wrote with Eddie Floyd or Steve Cropper or both; "634-5789" was credited to Cropper and Floyd alone. For his next sessions, <mask> did not return to Stax, as the label's owner, Jim Stewart, had decided in December 1965 to ban outside productions. Wexler took <mask> to Fame Studios, a studio also with a close association with Atlantic Records, located in a converted tobacco warehouse in nearby Muscle Shoals, Alabama. <mask> recorded some of his biggest hits there, including the highest-charting version of "Land of 1,000 Dances", which was his third R&B No. 1 and his biggest pop hit, peaking at No. 6.It was a million-selling disc. Other big hits from this era in <mask>'s career included his remakes of Mack Rice's "Mustang Sally", (#6 R&B, No. 23 pop), and Dyke & the Blazers' "Funky Broadway", (R&B No. 1, #8 pop). Both tracks were million sellers. The band heard on most of <mask>'s Fame recordings included keyboardist Spooner Oldham, guitarist Jimmy Johnson, drummer Roger Hawkins, and bassist Tommy Cogbill. Later Atlantic years (1967–1972)

Near the end of 1967, <mask> began recording at American Studios in Memphis with producers Tom Dowd and Tommy Cogbill, and began recording songs by Bobby Womack.The songs "I'm in Love," "Jealous Love," "I've Come a Long Way," "I'm a Midnight Mover," (co-written by <mask> and Womack), and "I Found a True Love" were Womack-penned hits for <mask> in 1967 and 1968. <mask> recorded works by other songwriters in this period; Rodger Collins' "She's Lookin' Good" and a new arrangement of the traditional blues standard "Stagger Lee" were Top 40 hits <mask> recorded at American. Womack was the guitarist on all recordings. <mask> returned to Fame Studios in late 1968 and early 1969, where he worked with a band that featured guitarist Duane Allman, Hawkins, and bassist Jerry Jemmott. A No. 16 pop hit remake of The Beatles' "Hey Jude" came out of the Fame sessions, as well as the minor hits "Mini-Skirt Minnie" and "Hey Joe" (a remake of the Jimi Hendrix hit). Late 1969 found <mask> at Criteria Studios in Miami.Hit remakes of the Supremes' "You Keep Me Hangin' On" (#16 R&B, No. 92 pop) and The Archies' "Sugar, Sugar" (#4 R&B, No. 25 pop), and the Pickett original "She Said Yes" (#20 R&B, No. 68 pop) came from these sessions. <mask> then teamed up with established Philadelphia-based hitmakers Gamble and Huff for the 1970 album <mask> in Philadelphia, which featured his next two hit singles, "Engine No. 9" and "Don't Let the Green Grass Fool You", the latter selling one million copies. Following these two hits, <mask> returned to Muscle Shoals and the band featuring David Hood, Hawkins and Tippy Armstrong.This lineup recorded <mask>'s fifth and last R&B No. 1 hit, "Don't Knock My Love, Pt. 1". It was another <mask> recording that rang up sales in excess of a million copies. Two further hits followed in 1971: "Call My Name, I'll Be There" (#10 R&B, No. 52 pop) and "Fire and Water" (#2 R&B, No. 24 pop), a cover of a song by the rock group Free.In

masks:
Wilson Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Wiltshire Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Pickett
Wilson Pickett
Pickett
Pickett
Pickett


texts:
 March 1971, <mask> headlined the Soul To Soul concert in Accra to commemorate Ghana's 14th Independence Day. He is featured on the soundtrack album, Soul To Soul, which peaked at No. 10 on the Billboard Soul LP's chart. <mask> recorded several tracks in 1972 for a planned new album on Atlantic, but after the single "Funk Factory" reached No. 11 R&B and No. 58 pop in June 1972, he left Atlantic for RCA Records. His final Atlantic single, a recording of Randy Newman's "Mama Told Me Not to Come," was culled from <mask>'s 1971 album Don't Knock My Love.However, six years later, the Big Tree division of Atlantic released his album, Funky Situation, in 1978. In 2010, Rhino Handmade released a comprehensive compilation of these years titled Funky Midnight Mover – The Studio Recordings (1962–1978). The compilation included all recordings originally issued during <mask>'s Atlantic years along with previously unreleased recordings. This collection was sold online only by Rhino.com. Post-Atlantic recording career
<mask> continued to record with success on the R&B charts for RCA in 1973 and 1974, scoring four top 30 R&B hits with "Mr. Magic Man", "Take a Closer Look at the Woman You're With", "International Playboy" (a re-recording of a song he had previously recorded for Atlantic on <mask> in Philadelphia), and "Soft Soul Boogie Woogie". However, he was failing to cross over to the pop charts with regularity, as none of these songs reached higher than No. 90 on the Hot 100.In 1975, with <mask>'s once-prominent chart career on the wane, RCA dropped <mask> from the label. After being dropped, he formed the short-lived Wicked label, where he released one LP, Chocolate Mountain. In 1978, he made a disco album with Big Tree Records titled Funky Situation, which is a coincidence as, at that point, Big Tree was distributed by his former label, Atlantic. The following year, he released an album on EMI titled I Want You. <mask> was a popular composer, writing songs that were recorded by many artists, including Van Halen, the Rolling Stones, Aerosmith, the Grateful Dead, Booker T. & the MGs, Genesis, Creedence Clearwater Revival, Hootie & the Blowfish, Echo & the Bunnymen, Roxy Music, Bruce Springsteen, Los Lobos, the Jam and Ani DiFranco, among others. <mask> continued to record sporadically with several labels over the following decades (including Motown), occasionally making the lower to mid-range of the R&B charts, but he had no pop hit after 1974. His career was hindered by his addictions.His alcoholism was exacerbated by heavy cocaine use, and he became increasingly violent towards his family and bandmates. Throughout the 1980s and '90s, despite his personal troubles, <mask> was repeatedly honored for his contributions to music. During this period, he was invited to perform at Atlantic Records' 40th Anniversary concert in 1988, and his music was prominently featured in the 1991 film The Commitments, with <mask> as an off-screen character. In the late 1990s, <mask> returned to the studio and received a Grammy Award nomination for the 1999 album It's Harder Now. The comeback resulted in his being honored as Soul/Blues Male Artist of the Year by the Blues Foundation in Memphis. It's Harder Now was voted 'Comeback Blues Album of the Year' and 'Soul/Blues Album of the Year.' <mask> appeared in the 1998 film Blues Brothers 2000, in which he performed "634-5789" with Eddie Floyd and Jonny Lang.He was previously mentioned in the 1980 film Blues Brothers, which features several members of <mask>'s backing band, as well as a performance of "Everybody Needs Somebody to Love." He co-starred in the 2002 documentary Only the Strong Survive, directed by D. A. Pennebaker, a selection of both the 2002 Cannes and Sundance Film Festivals. In 2003, <mask> was a judge for the second annual Independent Music Awards to support independent artists' careers. <mask> spent the twilight of his career playing dozens of concert dates every year until 2004, when he began suffering from health problems. While in the hospital, he returned to his spiritual roots and told his sister that he wanted to record a gospel album, but he never recovered. On September 10, 2014, TVOne's Unsung program aired a documentary that focused on <mask>'s life and career. Personal life
<mask> was the father of four children.At the time of his death, he was engaged. Legal problems and drug abuse
<mask>'s struggle with alcoholism and cocaine addiction led to run-ins with the law. In 1991, <mask> was arrested for yelling threats while drunkenly driving his car over the front lawn of Donald Aronson, the mayor of Englewood, New Jersey. He faced charges of drunk driving, refusing to take a breath test, and resisting arrest. <mask> agreed to perform a benefit concert in exchange for having the disorderly conduct and property damage charges dropped. He performed for his community service obligation. In 1992, <mask> struck an 86-year-old pedestrian Pepe Ruiz with his car in Englewood.Police allegedly found six empty miniature vodka bottles and six empty beer cans in his car. Ruiz, who had helped organize the New York animation union, died later that year. <mask> pleaded guilty to drunk driving charges. He agreed to rehab and received a reduced sentence of one year in jail and five years probation. A week after this incident, a judge ordered <mask> to move out of his home after his live-in girlfriend charged him with threatening to have her killed and throwing a vodka bottle at her. In 1996, <mask> was arrested for assaulting his girlfriend Elizabeth Trapp while under the influence of cocaine; she refused to press charges. <mask> was charged with cocaine possession.Death
<mask> died on January 19, 2006, two months short of his 65th birthday. He had been suffering from health problems for the last year of his life and had spent considerable time in the hospital. He died at a hospital in Reston, Virginia after suffering a heart attack. At the time of his death, <mask> was living in Ashburn, Virginia. He was laid to rest in a mausoleum at Evergreen Cemetery in Louisville, Kentucky. <mask> spent many years in Louisville. The eulogy was delivered by Pastor Steve Owens of Decatur, Georgia.Little Richard, a long-time friend of <mask>'s, spoke about him and preached a message at the funeral. <mask> was remembered on March 20, 2006, at New York's B.B. King Blues Club with performances by the Commitments, Ben E. King, his long-term backing band the Midnight Movers, soul singer Bruce "Big Daddy" Wayne, and Southside Johnny in front of an audience that included members of his family, including two brothers. Awards and nominations
<mask> was inducted into the Rock and Roll Hall of Fame in 1991. In 1993, he was honored with a Pioneer Award by the Rhythm and Blues Foundation. In 2005, <mask> was voted into the Michigan Rock and Roll Legends Hall of Fame. In 2015 <mask> was inducted into the National Rhythm & Blues Hall of Fame.Grammy Awards
He was nominated for five Grammy Awards during the course of his career. II (1971, Atlantic SD-8290) US: #73
 <mask>'s Greatest Hits (1973, Atlantic SD2-501 [2LP]; CD reissue: 1987, Atlantic 81737) US: #178
 A Man and A Half: The Best of <mask> (1992, Rhino R2-70287) 2CD
 The Very Best of <mask> (1993, Rhino R2-71212)
 Take Your Pleasure Where You Find It: Best of The RCA Years (1998, Camden 58814)
 The Definitive Collection (2006, Rhino R2-77614) 2CD
 Funky Midnight Mover: The Atlantic Studio Recordings (1962–1978) (2010, Rhino Handmade RHM2-07753) 6CD
 Mr. Magic Man: The Complete RCA Studio Recordings (2015, Real Gone Music RGM-0384) 2CD
 The Midnight Mover: <mask> & The Falcons (The Early Years 1957–1962) (2015, Jasmine JASCD-936)

Singles

References

Bibliography
Ross, Andrew and Rose, Tricia (Ed.). (1994). Microphone Fiends: Youth Music and Youth Culture. Routledge: New York. Hirshey, Gerri. Nowhere to Run: The Story of Soul Music.Da Capo Press; Reprint edition (September 1, 1994)
Hirshey, Gerri (February 9, 2006). <mask>, 1941–2006. Rolling Stone No. 933. Sacks, Leo. Liner notes to "A Man and a Half: The Best of <mask>" (1992, Rhino). External links

 Unterberger, Richie.<mask>et 1999 induction profile via Alabama Music Hall of Fame
 <mask> via classicbands.com
 Escott, Colin. The Wicked <mask>ett. Boone, Mike. In The Midnight Hour. via soul-patrol.com
 Associated Press (January 19, 2006). Soul Singer <mask> Dies at 64
 Muskal, Michael (January 19, 2006). Soul Pioneer <mask> Dies at 64.Los Angeles Times
 Epstein, Dan (January 19, 2006). Soul Legend <mask> Dies. Rolling Stone
 Jansen, Lex (January 19, 2006). <mask> at the Heart of Rock and Soul
 Article About <mask> – by Dr. Frank Hoffmann
 <mask> at Rolling Stone
 <mask> article, Encyclopedia of Alabama

1941 births
2006 deaths
People from Prattville, Alabama
20th-century African-American male singers
American soul singers
Atlantic Records artists
Cub Records artists
Singers from Alabama
Burials in Kentucky
Singers from Detroit
Baptists from Michigan
Baptists from Alabama
American rhythm and blues singers
20th-century Baptists
People from Ashburn,

masks:
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Wilson Pickett
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<mask> (born 18 February 1948) is an English blues and country musician, as well as guitar maker (under the name "N.S<mask>") and painter. He is mainly renowned for being part of the supergroup The Notting Hillbillies along with the Dire Straits frontman Mark Knopfler and Brendan Croker. Biography
<mask> was born in London, England, but when still a child his family moved to Leeds; he has lived in Yorkshire for most of his life. His father, <mask>, was a sculptor (<mask> inspired Mark Knopfler to write the song "In the Gallery," from the debut Dire Straits album), and his mother was a painter. At the age of 13, <mask> began learning to play guitar and started playing in different pubs in Leeds. In 1965, at the age of 17, he formed a band called Easy Mr. <mask>'s Bootleggers in which he mainly played piano.The group eventually recorded some demos but these were not released until 1996. They split up in 1967, although the various musicians continued to work together in different combinations from time to time. In 1968, after buying his first steel resonator guitar, a vintage National, he played many solo gigs in Leeds pubs. Then, Mark Knopfler, a junior reporter working for The Yorkshire Evening Post, called <mask> to get an interview. They soon become friends and started playing together. Their stage name was The Duolian String Pickers. They went on playing in different pubs.Finally, in 1973, Knopfler left Leeds and moved to London to become part of Brewers Droop and, afterwards, founded Dire Straits, with whom he finally reached mainstream recognition. By the mid-1970s, <mask> had met the Bradford-born songwriter, singer and guitarist Brendan Croker. They opened a club in a Leeds pub called The Packhorse, where they also played guitar. As a side project, <mask> spent his spare time painting. Finally, in the 1980s, <mask> was persuaded to release his first album, The Best of <mask>. Recorded between 1977 and 1986, the album contained fourteen tracks, only one of which was self-composed: the rest were classic country blues and ragtime instrumentals by such artists as Blind Willie McTell, Big Bill Broonzy and Blind Blake. In 1990, he released a second album, Steel-Rail Blues, which contained more of his own compositions as well as arrangements of others' songs.Knopfler, already famous as the leader of Dire Straits, offered to produce <mask>'s next album for him. However, following an impromptu gig in May 1986 at the Grove Inn in Leeds (one of the city's celebrated musical venues) in which Knopfler joined <mask> and Croker, <mask> suggested that they form a band along with Croker (who had also released a couple of albums with his band The 5 O'Clock Shadows). This idea became The Notting Hillbillies. Through this group, <mask> achieved a wider recognition that allowed him to go on releasing his full solo albums and to enhance his career. <mask> went on releasing albums throughout the 1990s. He has worked with a wide group of musicians whom he calls on for band gigs; they were at one time called The Famous Five but are now known as The Rough Diamonds. Most of these musicians (and other guests) have appeared on his albums, except for his most recent, Solo (2005) which is <mask> on his own.(These recordings are difficult to find outside the UK, despite the fact that <mask> is internationally known as a blues singer and guitarist and has undertaken several overseas tours, notably in Italy, Spain and Scandinavia). In 1996, Just Pickin' was released; an album that gathered previously unreleased demos with Easy Mr Steve's Bootleggers, Mark Knopfler, Brendan Croker and other musicians. These recordings spanned nearly thirty years, from 1965 to 1981. <mask> usually tours solo, with occasional gigs with The Rough Diamonds. He has also played with other solo blues artists such as Ray Stubbs, Doug McLeod and Hans Theessink. He still plays regularly with Croker and appears occasionally with Knopfler and his band, especially for charity fund-raising gigs. When not touring, <mask> and The Rough Diamonds play most Tuesday nights at the Grosvenor Hotel in Robin Hood's Bay, North Yorkshire.These informal evenings usually gather a good audience and often feature friends of <mask> and the band 'sitting in' for all or part of the gig. The music ranges from early blues to rock'n'roll, country to Chicago R&B. A live album of material recorded at the Grosvenor in 2007 was issued on 5 November 2012 under the name "Live at the Grosvenor" (aka The Grosvenor Sessions). <mask> & The Rough Diamonds released North Country Blues on 22 July 2013. In addition to his skills as a musician, <mask> has made a small number of high quality guitars (under the name "N.S<mask>") and is also a noted landscape painter, specialising in scenes around his North Yorkshire home area. These paintings are notable for their treatment of North Yorkshire's distinctive but elusive light, and have a luminous quality which renders them instantly recognisable as his work.His album, Been A Long Time Gone, has a detail from one of his paintings on the sleeve. Discography
The Best of <mask> (1987)
Steel-Rail Blues (1990)
Missing...Presumed Having a Good Time (1990) [with The Notting Hillbillies]
Been A Long Time Gone (1995)
Just Pickin' (1996)
Every One A Gem (2000)
Solo (2005)
Live at the Grosvenor (aka The Grosvenor Sessions) (recorded in 2007, released in 2012)
North Country Blues (2013)

Guitars
A guitar collector as well as a maker, <mask> uses a wide number of them in his live performances. The National Style O which Knopfler uses in songs such as "Romeo & Juliet" and which became a Dire Straits emblem following its appearance on the cover of the Brothers in Arms album, was sold by <mask> in 1980. This is a list of some of the guitars <mask> has used in his live shows; his current main live guitars are marked +

Acoustic guitars:
 Gibson L4 (1924)+
 Martin 00018 (1931)
 Martin 0016C (1964)
 N.S. Phillips 12-string (1977) (known as 'The Wardrobe')
 N.S. Phillips 6-string (1986)+
 Ralph Bown 12 String (1999)+

Electric guitars:
 National lap steel (1936)
 Gibson L-50 (1937)+
 Gibson ES100 (1938)
 Beltona electric resonator (1992) – the prototype of this model. +
 <mask> resonator (2002)

Phillip's official website has photographs of many of these instruments.References

1948 births
Living people
English blues guitarists
English country guitarists
Musicians from Leeds
The Notting Hillbillies members

masks:
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. Phillips
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<mask> (born November 20, 1947) is an American rock singer-songwriter and multi-instrumentalist. In a career spanning more than 50 years, he has been a member of three successful rock bands: James Gang, Eagles, and Ringo Starr & His All-Starr Band. <mask> was also part of the New Zealand band Herbs. In the 1990s, he was a member of the short-lived supergroup The Best. <mask> has also experienced success both as a solo artist and as a prolific session musician, being featured on a wide array of other artists' recordings. In 2011, Rolling Stone placed him at the No. 54 spot on its list of "100 Greatest Guitarists of All Time".In the mid-1960s, after attending Kent State University, <mask> played with several local Ohio-based bands before reaching a national audience as a member of the James Gang, whose hit song "Funk #49" highlighted his skill as both a guitarist and singer. Roger Abramson, a concert producer and artist manager, signed the James Gang to a management agreement with BPI in Cleveland. After leaving the James Gang in 1972, he formed Barnstorm with <mask>, a college friend from Ohio, and Kenny Passarelli, a bassist from Colorado, where <mask> had moved after leaving Ohio. While the band stayed together for three albums over three years, its works were marketed as <mask> solo projects. The last Barnstorm album, 1974's So What contained significant guest contributions from several members of the Eagles, a group that had recently hired <mask>'s producer, Bill Szymczyk. At Szymczyk's suggestion, <mask> joined the Eagles in 1975 as the band's guitarist and keyboardist following the departure of their founding member Bernie Leadon, with Hotel California being his first album with the band. In 1998, a reader's poll conducted by Guitarist magazine selected the guitar solos on the track "Hotel California" by <mask> and Don Felder as the best guitar solos of all time.Guitar World magazine listed it at eighth of the Top 100 Guitar Solos. Besides his work with his several bands, he has released 12 solo studio albums, six compilation albums, and two live albums. His solo hits include "Rocky Mountain Way", "Life's Been Good", "All Night Long", "A Life of Illusion", and "Ordinary Average Guy". As a member of the Eagles, <mask> was inducted into the Rock and Roll Hall of Fame in 1998, and into the Vocal Group Hall of Fame in 2001. The Eagles are considered to be one of the most influential bands of the 1970s, and they remain one of the best-selling American bands in the history of popular music. His creative contribution to music has received praise from many of the best rock guitarists, including Led Zeppelin's Jimmy Page, who said, "He has a tremendous feel for the instrument. I've loved his style since the early James Gang."Eric Clapton said that "He's one of the best guitarists to surface in some time. I don't listen to many records, but I listen to his." The Who's guitarist, Pete Townshend, said "<mask> is a fluid and intelligent player. There're not many like that around." Early life and education
Joseph Fidler <mask> was born on November 20, 1947, in Wichita, Kansas. His father, Lt. Robert Newton Fidler, was a flight instructor for the Lockheed F-80 Shooting Star in the United States Air Force and died in a plane crash in Okinawa on 22 July 1949. <mask>'s mother was a classically trained pianist of Scottish and German ancestry.<mask> was adopted by his stepfather at the age of five and given his stepfather's surname, but retained Fidler as his middle name. In the 1950s, it was common practice for Social Security, school registration, and health records for children to take the name of their stepfather. <mask> and his family lived in Columbus, Ohio, for a number of years during his youth. When <mask> was twelve years old, his family moved to New York City. Later, <mask> moved to Montclair, New Jersey, and he attended Montclair High School, where he played oboe in the school band. <mask> got his first guitar at the age of 10, and upon learning The Ventures' "Walk Don't Run", decided that he wanted to pursue a career as a guitarist. Inspired by the success of the Beatles, he replaced Bruce Hoffman as the bass player in the locally popular group, the Nomads in Madison, New Jersey, beginning his career as a rock musician.After high school, <mask> attended Kent State University, where he spent time in various bands playing around the Cleveland area, including the Measles. The Measles recorded for Super K Productions' Ohio Express the songs "I Find I Think of You", "And It's True", and "Maybe" (an instrumental version of "And It's True"). <mask> majored in English and minored in music; he was present during the Kent State massacre in 1970. <mask> commented in 2012: "Being at the shootings really affected me profoundly. I decided that maybe I don't need a degree that bad." After one term, he dropped out of college to pursue his musical career. Musical career

1965–1967: The Measles (<mask> years)
The Measles, an Ohio garage bar band, were formed in 1965 by four Kent State University students, one of whom was <mask>.Two tracks on the Ohio Express' Beg Borrow and Steal album, "I Find I Think Of You" and "And It's True" (both featuring <mask> vocals) were actually recorded by the Measles, led by <mask>. Additionally, an instrumental version of "And It's True" was recorded by the Measles, re-titled "Maybe" and released as the B-side of the "Beg Borrow and Steal" single. 1968–1971: James Gang

Around Christmas 1967, James Gang guitarist Glenn Schwartz, who turned out to be AWOL from the army and was breaking up with his wife, decided to leave the band to move to California, where he ended up forming the band Pacific Gas & Electric. Days later, <mask>, a friend of Schwartz's, knocked on Jim Fox's door and asked to be given a tryout as Schwartz's replacement. <mask> was accepted and the band continued as a five piece for a short time until Phil Giallombardo, who was still in high school at the time, left. Bill Jeric and <mask> worked together on guitar parts, but Jeric left as well in the spring of 1968. He was replaced by a returning Ronnie Silverman, who had been discharged from the military.In May 1968, the group played a concert in Detroit at the Grande Ballroom, opening for Cream. At the last minute, Silverman told the others that he would not join them at the show. The band, desperately in need of the money, took to the stage as a trio. They liked their sound as a threesome and decided to remain that way. In 1968, the band signed with manager Mark Barger, who was handling the career of fellow Ohio outfit the Lemon Pipers, who had just scored a big hit with "Green Tambourine." Barger put the Gang in touch with ABC Records staff producer Bill Szymczyk, who signed them to ABC's new Bluesway Records subsidiary in January 1969. They released their debut album, Yer' Album, in 1969.In November 1969, bassist Tom Kriss decided he was no longer into the music and left to be replaced by Dale Peters, who was brought in from a group called The Case of E.T. Hooley. The addition of Peters created the most successful incarnation of the James Gang. <mask> proved to be the band's star attraction, noted for his innovative rhythm playing and creative guitar riffs. In particular he was known for hot-wiring the pick-ups on his electric guitars to create his trademark "attack" sound. The James Gang had several minor hits and became an early album-oriented rock staple for the next two years. It was during 1969 that <mask> sold his Les Paul Guitar to Jimmy Page.Later in 1969, the group's record producer, Szymczyk, arranged for the band to appear in the "electric Western" film Zachariah, with two James Gang songs, "Laguna Salada" and "Country Fever," also being used. For the recording of these two songs, vocalist Kenny Weiss was brought in to allow <mask> to focus on his guitar playing; he was gone by the time the group arrived in Mexico to shoot their movie scenes. "Laguna Salada" and "Country Fever" later reappeared as bonus tracks on the 2000 re-release of The James Gang Greatest Hits. Shortly before the release of their second album James Gang Rides Again, the James Gang opened a show for the Who in Pittsburgh. Their guitarist Pete Townshend met with the James Gang before they left and was impressed enough to invite them on the Who's subsequent European tour. When <mask> was asked about this he said that, "Pete's a very melodic player and so am I. He told me that he appreciated my playing.I was flattered beyond belief because I didn't think I was that good." The James Gang's next two albums, James Gang Rides Again (1970) and Thirds (1971), produced such classics as "Funk #49" and "Walk Away". The album James Gang Live at Carnegie Hall was <mask>'s last album with them, as he became dissatisfied with the band's limitations. The two remaining members, Peters and Fox, carried on with the lead vocalist Roy Kenner and guitarist Domenic Troiano (both ex-members of the Canadian band Bush) for two albums, Straight Shooter and Passin' Thru, both released in 1972. But in recent interviews, Fox stated that things did not work out musically with Troiano as hoped, so he left the band in 1973 and joined the Guess Who. 1971–1975: Barnstorm
In December 1971, <mask> left the James Gang. Steve Marriott, frontman guitarist of Humble Pie, invited him to move to England and join his band, which Peter Frampton had left, but <mask> declined.Instead he moved to Colorado and formed a band called Barnstorm, with drummer and multi-instrumentalist <mask>, and bassist Kenny Passarelli, although both of their albums credited <mask> as a solo artist. They started recording their debut album immediately after forming, but at the time there were only <mask> and Vitale on these sessions. Chuck Rainey did the first bass tracks on the album but these were soon replaced by Passarelli. <mask> and Barnstorm released their debut album, the eponymous Barnstorm, in October 1972. After taking a cue from Townshend, <mask> utilized the ARP Odyssey synthesizer to great effect on such songs as "Mother Says" and "Here We Go". <mask> also experimented with acoustic guitar, slide guitar, effects pedals, fuzzbox, talk box, and keyboards as well as running his guitar straight into a Leslie speaker 122 to get swirly, organ-like guitar tones. The album was a critical success, but had only moderate commercial success.The follow-up, The Smoker You Drink, the Player You Get, released in June 1973, was marketed under <mask>'s name (although officially a Barnstorm album) and was their commercial breakthrough. It peaked at No. 6 on the US Billboard chart. The first and leading single, "Rocky Mountain Way", received heavy airplay and reached No. 23 on the US Top 40 chart. It featured new member, keyboardist Rocke Grace, and <mask> shared the vocals and songwriting with the other three members of the band. As a result, a variety of styles are explored on this album.There are elements of blues, jazz, folk, pop, and Caribbean music. In 1974, Barnstorm disbanded and <mask> continued as a solo artist. In late 1974, <mask> played slide guitar on Vitale's debut solo album Roller Coaster Weekend. <mask> was taught the slide technique by Duane Allman, who played on Eric Clapton's Layla of Derek and the Dominos. Barnstorm's last tour was spring 1975, shortly after <mask> joined The Eagles. 1975–1980: Eagles
In 1975, <mask> was invited to join The Eagles as founding member Bernie Leadon's replacement. There was some initial concern as to <mask>'s ability to fit in with the band, as he was considered far too "wild" for The Eagles, especially by their drummer and co-lead vocalist, Don Henley.Released on December 8, 1976, Hotel California was the band's fifth studio album and the first to feature <mask>. The album took a year and a half to complete, a process which, along with touring, drained the band. The second single from the album was the eponymous title track, which topped the charts in May 1977 and became one of the Eagles' signature songs next to "Take It Easy" and "Desperado". It features Henley on lead vocals, with a guitar duet performed by Felder and <mask>. The hard rock "Life in the Fast Lane", released on May 3, 1977, was based on a riff by <mask>. It reached No. 11 on the charts and helped establish <mask>'s position in the band.Hotel California is the last album to feature founding member Randy Meisner, who abruptly left the band after the 1977 tour. He was replaced by the same musician who had succeeded him in Poco, Timothy B. Schmit. In 1977, the band, minus Don Felder, performed instrumental work and backing vocals for Randy Newman's album Little Criminals, including "Short People," which has backing vocals by Frey and Schmit. The Eagles went into the recording studio in 1977 to begin work on their next album, The Long Run. The album took two years to complete. The Long Run was released on September 24, 1979. Considered a disappointment by some music critics for failing to live up to Hotel California, it proved a huge commercial hit nonetheless; the album topped the charts and sold 7 million copies.In addition, it included three Top 10 singles—"Heartache Tonight", the title track and "I Can't Tell You Why". "In The City" by <mask> also received considerable airplay. The band also recorded two Christmas songs during these sessions, "Funky New Year" and "Please Come Home for Christmas" which was released as a single in 1978 and reached No. 18 on the charts. In 1980, the band broke up. 1973–2012: solo career

<mask> has released twelve solo studio albums. In December 1974, <mask> released his first solo album that was not considered a Barnstorm project, So What, which contained more introspective material such as "Help Me Through the Night" and "Song For Emma", a tribute to <mask>'s daughter who had been killed in a car accident that April.On a few tracks, Don Henley, Glenn Frey and Randy Meisner of the Eagles contributed backing vocals. In March 1976,

masks:
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