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<mask> (March 8, 1898 – May 4, 1975) was the first female Hungarian architect and a structural engineer. She designed a number of iconic buildings in Hungary, Austria and America. Early life and education
<mask> was born <mask> on March 8, 1898, in Kecskemét to Mór Pollák, a flour merchant, and Sarolta Szántó (née Schäfer). She was one of seven children and money was tight. The family changed its name to Pécsi in 1900. Two of <mask>'s sisters, Vilma and Margit, became doctors, a third, Berta, became a teacher. A brother, Illés, graduated in engineering in 1913.Pécsi attended the Royal College of Technology in Charlottenburg, Berlin, between 1915 and 1919. In 1918, the Hungarian government passed laws enabling women to study at universities, so in 1919 <mask> returned to Hungary to complete her education at Királyi József Műegyetem (Budapest University of Technology and Economics). She graduated on 8 March 1920, her twenty-second birthday, the first Hungarian woman to qualify as an architect. Pécsi was one of the first four women to study at the university, alongside Marianne Sternberg-Várnay, mechanical engineer Villma Máhrer and Irma Simonyi-Hajós. Early career
After graduation, Pécsi worked for a decade in the Guth and Gergely architectural engineering offices in Budapest, being promoted to senior designer after a few years at the company. Her work during this time included designing the articulated reinforced concrete arches of the Alfréd Hajós Swimming Pool in Margitsziget. It was the first indoor swimming pool in Hungary and the largest in Europe at the time, covered by five reinforced concrete beams with a span of 31 meters and an internal height of 14 meters.The pool was the brainchild of Alfréd Hajós, a Hungarian architect and Olympic swimmer who described it as "The large hall, bridged by huge reinforced concrete arches, has an extremely impressive effect on the viewer, these arches span the wide space without any intermediate supports." Pécsi also worked on the foundation of the central (turbine lake) turbine in Bánhida during these years. Marriage and partnership
On 3 December 1922 Pécsi married modernist architect József Fischer, and had two sons, György and János, who both grew up to become architects. The couple were both members of the Congres Internationaux d’Architecture Moderne (CIAM), which played a key role in the expansion of modernist architecture. From 1931 to 1948 the couple ran an architectural firm together. During this period, Pécsi designed and engineered significant floating reinforced concrete slabs and tower foundations, as well as higher-than-usual steel frame structures, working as a structural engineer with many of the period's leading Hungarian architects, including Fishcher and Farkas Molnár. Her work, with original structural solutions, included the Fiumei út emergency hospital, and the Kútvölgyi út hospital, the first high-rise high-rise buildings in Budapest.She also worked on several modern houses. During World War II, Hungary was part of the Axis powers. Pécsi's husband was conscripted into but eventually deserted the army in 1944, when Germany invaded Hungary. The couple's home was used to shelter fugitives, which endangered the family, as did Fischer's desertion. After the war, Pécsi inspected the bomb-damaged buildings in the capital and directed the reinforcement work on the cracked roof of the National Theater. Hungarian businesses were nationalised in 1948, and from 1949 she was an employee of the Design Office of the Ministry of Metallurgy and Mechanical Engineering (KGMTI) and then chief structural engineer. She worked on the rail manufacturer MÁVAG's forging workshop (ensuring continuous operation without any factory closures).She designed a special foundation around and above the obsolete timber-framed hall in the plant, so that old parts could be demolished. She also wrote several articles. Politics and the Hungarian Revolution
<mask> and her husband were both members of the Magyarországi Szociáldemokrata Párt the Social Democratic Party of Hungary. Fischer was chosen as a candidate for the party in the 1939 general election, and was chairman of the architects’ group within the party. The party was suppressed under Soviet rule. The Hungarian Revolution of 1956  was a nationwide revolution against the Hungarian People's Republic and its Soviet-imposed policies, lasting from 23 October until 10 November 1956. Pécsi became a commissioner, involved in the uprising.During the revolution, her home became a meeting place for Social Democratic politicians. Her husband József Fischer was elected to the leadership of the Social Democratic Party of Hungary when it revived during the revolution. On 3 November, Fischer was appointed as state minister in the coalition government as the party's nominee. The next day, the Soviets invaded Hungary and the revolution was crushed within a week. Fischer  went into hiding for a time. In 1957, as part of the reprisals and clamp down by the Soviet authorities, Pécsi was dismissed from her job because of her involvement in the revolution. Life outside Hungary
In 1957, Pécsi left Hungary without her husband and lived in Vienna for two years, where she worked for the Krapfenbauer architectural firm and designed the structural plans for the city's first downtown multi-storey car park near the Vienna Opera House.Her husband was dismissed from his job in 1959 and made an application to emigrate and join her, but this was denied for seven years. Pécsi then moved to New York, where one of her sons had settled. She joined the architectural company Farkas & Barron as a structural engineer, then worked with Marcel Breuer the Hungarian architect-designer, and a leader in the Bauhaus movement. Pécsi later became a Fellow of SOM (Skidmore, Owings and Merrill), one of America's leading architectural firms, and was part of the team which drew up structural plans for the city's tallest reinforced concrete frame building at the time, the Hotel Americana, later known as the Sheraton. She also designed the structural plans for high rise buildings at Columbia University. Her husband was finally able to join her in 1964, having had to wait over seven years for a passport to be granted. In 1965, Pécsi was awarded the “Best Structural Engineer of the Year” award for the special foundations method she invented which allowed high-rise buildings to be built on the banks of the Hudson River.Between 1959 and 1970 she also lectured at New York University. In 1970 Pécsi became paralysed following due to a severe stroke. Nursed by her husband, she died on 4 May 1975 in New York City. Her ashes were taken back to Hungary and placed in Budapest's Farkasréti Cemetery. Her granddaughter Zsuzsanna Szabóné Fischer also became a structural engineer. Commemoration
A plaque was placed on her birthplace in Kecskemét in 2000 and on the wall of the couple's house in Szent István Park in Budapest in 2001. A room was named after Pécsi at the Budapest University of Technology and Economics, on the 100th anniversary of her graduation with an engineering degree.References

External links
 hungarlingva biografio
 hungarlingva biografio kun fotoj

Hungarian academics
Hungarian engineers
20th-century American architects
20th-century Hungarian architects
20th-century women engineers
American women architects
Hungarian women architects
Hungarian women academics
Hungarian emigrants to the United States
Budapest University of Technology and Economics alumni
1898 births
1975 deaths
People from Kecskemét
New York University faculty

masks:
Eszter Pécsi
Eszter Pécsi
Eszter Pollák
Pécsi
Pécsi
Pécsi


type: original

texts:
<mask> (born  <mask>; 1940) is a German artist. <mask> is known for his minimalist, abstract painting and sculpture. The "Messerschnitt" or "knife cuts," are a recurring technique he employs, along with his regular use of the primary colors, red, yellow and blue. <mask> lives and works in Düsseldorf. Early life and career
<mask> was born in Dessau, Germany, in 1940. From 1962 to 1964, he studied at the Darmstadt "Werkkunstschule", in a course based on the ideas of the pre-Bauhaus course taught by Johannes Itten and László Moholy-Nagy. From 1964 to 1971, he studied under Joseph Beuys at the Kunstakademie Düsseldorf with fellow students Blinky Palermo (with whom he shared a studio and a love), Jörg Immendorff, Ivo Ringe and Katharina Sieverding.Work
<mask>'s work explores the relationship between space, picture support and color. The style and formal concerns of his painting and sculpture have drawn comparisons with the high modernist principles of both Kazimir Malevich and the Bauhaus

Between 1966 and 1969, Knoebel worked on a series of "Linienbildern", or line paintings, encompassing 90 panels Another series of 250,000 "Linienbilder" drawings were done on DIN A4 sheets in the years between 1969 and 1973/75. In 1968 Knoebel created his first major work, an installation with a variety of geometrical objects called Raum 19, named after classroom No. 19, which Beuys had given to his students at the academy. Raum 19 comprises seventy-seven components made from wood and Masonite, including painting stretchers, both assembled and in pieces; large constructions of stretchers with untreated Masonite attached as picture planes; and larger cubic volumes and curved blocks that resemble sections of an arched window or door frame. In 1992, Knoebel created a second version of “Raum 19” for the Hessisches Landesmuseum Darmstadt (Hessian State Museum Darmstadt) in close proximity to Joseph Beuys' “Block Beuys.” In 1968, Knoebel also used photography as an artistic medium. Beginning in 1968, Knoebel was one of the first Beuys students to use photography as an independent artistic medium.For his Innenprojektionen (Interior Projections; 1968–1970) black-and-white photographs, he started using empty slide projections, creating empty squares of light, projected on a wall or in a darkened, closed-off room. This later evolved to his placing slides covered in copy ink with precisely carved vertical and horizontal lines into the projector and then cast throughout the room. Projecting these lines at various angles throughout a darkened space, at windows, corners, wall fittings and architectural irregularities, offered limitless possibilities for the artist. Knoebel documented these light projections with his camera and displayed the variations in large grids, often with as many as 80 photographs comprising a single work. Knoebel’s 1968 Projektion 1, is a series of luminous, disorienting black-and-white photographs of light projections that bring to mind the architectural slicings that Gordon Matta-Clark was conducting at that time. Projection X (1970–71) and Projektion X Remake (2005), two versions of the same video concept, are his only videotapes based on these outdoor projections. During a nocturnal drive through the sleeping city of Darmstadt, a large, luminous X-shaped beam of light was projected from a vehicle onto the walls of buildings.The collection of the Hessisches Landesmuseum Darmstadt (Hessian State Museum Darmstadt) holds extensive series of photographs, slides, and the video Projection X by Knoebel. From the mid-1970s on, Knoebel then turned towards a gestural use of color on layered plywood boards or metal plates. From 1975 to date, Knoebel has been working on overlapping coloured rectangles called "Mennigebilder" ("Red Lead Pictures"), named after an anti-corrosion paint used in steel construction by the name of Mennige Paint, which the artist has used in these works. Whereas in his early years his palette was reduced to white, black, and brown, since 1977 he has been producing works with more color. His painting has since been characterized by a gesturally expressive application of colour on panels of layered plywood and metal placed in specific spatial relation. In the 1980s, Knoebel continued his associative loading of geometricizing picture elements and started to focus on the portrait. The arrangement of three, in colour nuanced vertical rectangulars next to and between two horizontal rectangulars is Knoebel’s formal solution for depicting the notion ‘portrait’.Knoebel made a series of 24 colorful monochromes in homage to his friend Blinky Palermo after Palermo’s death in 1977. The monumental series, acquired by Dia Art Foundation in the 1970s, was meticulously restored by the artist, who installed the work at Dia:Beacon in May 2008, marking its first ever exhibition in North America. In 1997, the German Bundestag commissioned Knoebel to create the four-part installation Rot Gelb Weiß Blau 1-4 for one of its office buildings. In June 2011, Knoebel’s six stained-glass panes within the apse of the Notre-Dame de Reims Cathedral were unveiled alongside the stained-glass works of Marc Chagall completed in 1974. Kinderstern
In 1988, Knoebel created the work Kinderstern, a Social Sculpture realizing the extended notion of art, formulated 1967 by Joseph Beuys, his Professor at the Kunstakademie Düsseldorf, by which art also ought to change society. Since 1988, Kinderstern (Children Star) stands for the Children's rights and is the only artwork worldwide where proceeds go 100% to children in need. Reims Cathedral
More than a century after being severely damaged by German bombing raids, Knoebel designed three new stained glass windows for the Reims Cathedral.<mask> refused payment for his participation in the project. The creation of the colored, patterned windows, which cost €900,000, was financed by the German Foreign Ministry. They were officially presented on May 12, 2015, during a ceremony attended by the Foreign Ministers Frank-Walter Steinmeier of Germany and Laurent Fabius of France. Exhibitions
<mask>'s first exhibition, IMI + IMI, with <mask> Giese, a fellow student of Beuys’s, was held in Copenhagen in 1968. Since that time, he has exhibited his works in documentas 5 (1972), 6 (1977), 7 (1982), and 8 (1987), and at Sonsbeek (1971). In 1996 the Haus der Kunst, Munich, staged a large retrospective of his works which travelled throughout Europe, including such venues as the Stedelijk Museum, Amsterdam, and Institut Valencià d'Art Modern, Centre Julio González, Valencia. Knoebel had a major retrospective in summer 2009 at the Hamburger Bahnhof and the Neue Nationalgalerie in Berlin; the Neue Nationalgalerie showed an arrangement of monumental key works relating to the upper hall of the famous Mies van der Rohe building, as well as gestural painting in various shades of white, which used the glass panes surrounding the upper storey of the building.Collections
Knoebel's works are held worldwide in numerous public collections, including Dia:Beacon in Beacon, New York, The Museum of Modern Art in New York City, the Fonds Regional d'Art Contemporain (FRAC) in France, the  in Switzerland, Essl Museum Klosterneuburg in Austria, Albertina in Vienna, Berardo Collection Museum Lisbon in Portugal, National Museum of Contemporary Art Korea, Kunstsammlung Nordrhein-Westfalen in Germany, Gemeentemuseum Den Haag in Netherland and Malmö Konsthall in Sweden. Since its first purchase in 1984, the Deutsche Bank Collection has acquired more than 1,000 works on paper by Knoebel. The artist is represented by Mary Boone in New York, Thaddaeus Ropac in Paris, :de:Galerie nächst St. Stephan Rosemarie Schwarzwälder in Vienna, Bärbel Grässlin in Frankfurt, Gallery Fahnemann in Berlin and Helga de Alvear in Madrid. Art market
In 2016, Knoebel's Grace Kelly (1989) was sold for a record £365,000 at Christie's in London. References

External links
 <mask> <mask> at DASMAXIMUM KunstGegenwart
 <mask> <mask> at Hessisches Landesmuseum Darmstadt

Further reading

 <mask> Knoebel: Works 1968–1996 (exh. cat, Amsterdam, Stedelijk Mus. and elsewhere, 1996).20th-century German painters
20th-century male artists
German male painters
21st-century German painters
21st-century male artists
German sculptors
1940 births
Living people
Kunstakademie Düsseldorf alumni
20th-century sculptors
German contemporary artists
People from Dessau-Roßlau

masks:
Imi Knoebel
Klaus Wolf Knoebel
Knoebel
Knoebel
Knoebel
Knoebel
Knoebel
Knoebel
Imi
Imi
Knoebel
Imi
Knoebel
Imi


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<mask> (born December 7, 1949) is an American musician, composer, songwriter and actor. His lyrics often focus on the underbelly of society and are delivered in his trademark deep, gravelly voice. He worked primarily in jazz during the 1970s, but his music since the 1980s has reflected greater influence from blues, rock, vaudeville, and experimental genres. <mask> was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk music circuit as a young boy. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazz-oriented Closing Time (1973) and The Heart of Saturday Night (1974), which reflected his lyrical interest in nightlife, poverty, and criminality.He repeatedly toured the United States, Europe, and Japan, and attracted greater critical recognition and commercial success with Small Change (1976), Blue Valentine (1978), and Heartattack and Vine (1980). He produced the soundtrack for Francis Ford Coppola's film One from the Heart (1981), and subsequently made cameo appearances in several Coppola films. In 1980, Waits married Kathleen Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more experimental and eclectic musical aesthetic influenced by the work of Harry Partch and Captain Beefheart. This was reflected in a series of albums released by Island Records, including Swordfishtrombones (1983), Rain Dogs (1985), and Franks Wild Years (1987). He continued appearing in films, notably starring in Jim Jarmusch's Down by Law (1986), and also made theatrical appearances. With theatre director Robert Wilson, he produced the musicals The Black Rider (1990) and Alice (1992), first performed in Hamburg.Having returned to California in the 1990s, his albums Bone Machine (1992), The Black Rider (1993), and Mule Variations (1999) earned him increasing critical acclaim and multiple Grammy Awards. In the late 1990s, he switched to the record label ANTI-, which released Blood Money (2002), Alice (2002), Real Gone (2004), and Bad as Me (2011). Despite a lack of mainstream commercial success, Waits has influenced many musicians and gained an international cult following, and several biographies have been written about him. In 2015, he was ranked at No. 55 on Rolling Stone "100 Greatest Songwriters of All Time". He was inducted into the Rock and Roll Hall of Fame in 2011. Biography

Childhood: 1949–1971

Thomas Alan <mask> was born on December 7, 1949, in Pomona, California.He has one older sister and one younger sister. His father, Jesse Frank <mask>, was a Texas native of Scots-Irish descent, while his mother, Alma Fern (née Johnson), hailed from Oregon and had Norwegian ancestry. Alma, a regular church-goer, managed the household. Jesse taught Spanish at a local school and was an alcoholic; Waits later related that his father was "a tough one, always an outsider". The family lived at 318 North Pickering Avenue in Whittier, California. He described having a "very middle-class" upbringing and "a pretty normal childhood". He attended Jordan Elementary School, where he was bullied.There, he learned to play the bugle and guitar, while his father taught him to play the ukulele. During the summers, he visited maternal relatives in Gridley and Marysville. He later recalled that it was an uncle's raspy, gravelly voice that inspired the manner in which he later sang. In 1959, his parents separated and his father moved away from the family home, which was a traumatic experience for 10-year-old Waits. Alma took her children and relocated to Chula Vista, a middle-class suburb of San Diego. Jesse visited the family there, taking his children on trips to Tijuana. In nearby Southeast San Diego, Waits attended O'Farrell Community School, where he fronted a school band, the Systems, later describing the group as "white kids trying to get that Motown sound".He developed a love of R&B and soul singers like Ray Charles, James Brown, and Wilson Pickett, as well as country music and Roy Orbison. Bob Dylan later became a strong influence, with Waits placing transcriptions of Dylan's lyrics on his bedroom walls. He was an avid watcher of The Alfred Hitchcock Hour and The Twilight Zone. By the time he was studying at Hilltop High School, he later related, he was "kind of an amateur juvenile delinquent", interested in "malicious mischief" and breaking the law. He later described himself as a "rebel against the rebels", for he eschewed the hippie subculture which was growing in popularity and was instead inspired by the 1950s Beat generation, having a love of Beat writers like Jack Kerouac, Allen Ginsberg, and William S. Burroughs. In 1968, at age 18, he dropped out of high school. Waits worked at Napoleone's pizza restaurant in National City, California, and both there and at a local diner developed an interest in the lives of the patrons, writing down phrases and snippets of dialogue he overheard.He said he worked in the forestry service as a fireman for three years  and served with the Coast Guard. He enrolled at Chula Vista's Southwestern Community College to study photography, for a time considering a career in the field. He continued pursuing his musical interests, taking piano lessons. He began frequenting folk music venues around San Diego, becoming drawn into the city's folk music scene. In 1969, he gained employment as an occasional doorman for the Heritage coffeehouse, which held regular performances from folk musicians. He also began to sing at the Heritage; his set initially consisted largely of covers of Dylan and Red Sovine's "Big Joe and Phantom 309". In time, he performed his own material as well, often parodies of country songs or bittersweet ballads influenced by his relationships with girlfriends; these included early songs "Ol' 55" and "I Hope That I Don't Fall in Love With You".As his reputation spread, he played at other San Diego venues, supporting acts like Tim Buckley, Sonny Terry, Brownie McGhee, and his friend Jack Tempchin. Aware that San Diego offered little opportunity for career progression, Waits began traveling into Los Angeles to play at the Troubadour. Early musical career: 1972–1976

In the autumn of 1971, at the Troubadour in West Hollywood, Waits came to the attention of Herb Cohen, who signed him to a publishing contract and a recording contract. The recordings that were produced under that recording agreement were eventually released in the early 1990s as The Early Years, Volume One and The Early Years, Volume Two. Quitting his job at Napoleone's to concentrate on his songwriting career, in early 1972 <mask> moved to an apartment in Silver Lake, Los Angeles, a poor neighborhood known for its Hispanic and bohemian communities. He continued performing at the Troubadour and there met David Geffen, who gave Waits a recording contract with his Asylum Records. Jerry Yester was chosen to produce his first album, with the recording sessions taking place in Hollywood's Sunset Sound studios.The resulting album, Closing Time, was released in March 1973, although it attracted little attention and did not sell well. Biographer Barney Hoskyns noted that Closing Time was "broadly in step with the singer-songwriter school of the early 1970s"; Waits had wanted to create a piano-led jazz album although Yester had pushed its sound in a more folk-oriented direction. An Eagles cover of its opening track, "Ol' 55", on their album On the Border, brought Waits further money and recognition, although he regarded their version as "a little antiseptic". To promote his debut, Waits and a three-piece band embarked on a U.S. tour, largely on the East Coast, where he was the supporting act for more established artists. As part of this, he supported <mask> at Washington D.C.'s The Cellar Door, Danny O'Keefe at Massachusetts's Club Passim, Charlie Rich at New York City's Max's Kansas City, Martha Reeves and the Vandellas in East Lansing, Michigan, and John P. Hammond in San Francisco. Waits returned to Los Angeles in June, feeling demoralised about his career. That month, he was the cover star of free music magazine, Music World.He began composing songs for his second album, and attended the Venice Poetry Workshop to try out this new material in front of an audience. Although <mask> was eager to record this new material, Cohen instead convinced him to take over as a support act for Frank Zappa's the Mothers of Invention after previous support act Kathy Dalton pulled out due to the hostility from Zappa's fans. <mask> joined Zappa's tour in Ontario, but like Dalton found the audiences hostile; while on stage he was jeered at and pelted with fruit. Although he liked the Mothers of Invention's band members, he found Zappa himself intimidating. <mask> moved from Silver Lake to Echo Park, spending much of his time in downtown Los Angeles. In early 1974, he continued to perform around the West Coast, getting as far as Denver. For Waits's second album, Geffen wanted a more jazz-oriented producer, selecting Bones Howe for the job.Howe recounts his first encounter with the young artist: "I told him I thought his music and lyrics had a Kerouac quality to them, and he was blown away that I knew who Jack Kerouac was. I told him I also played jazz drums and he went wild. Then I told him that when I was working for Norman Granz, Norman had found these tapes of Kerouac reading his poetry from The Beat Generation in a hotel room. I told Waits I'd make him a copy. That sealed it." Recording sessions for The Heart of Saturday Night took place at Wally Heider Studio Number 3, Cahuenga Boulevard in April and May, with <mask> conceptualising the album as a sequence of songs about U.S. nightlife. The album was far more widely reviewed than Closing Time had been, reflecting <mask>'s growing notability on the American music scene.<mask> himself was later dismissive of the album, describing it as "very ill-formed, but I was trying". After recording The Heart of Saturday Night, Waits reluctantly agreed to tour with Zappa again, but once more faced strong audience hostility. The kudos of having supported Zappa's tour nevertheless bolstered his image in the music industry and helped his career. In October 1974, he first performed as the headline act before touring the East Coast; in New York City he met and befriended the singer Bette Midler, with whom he had a sporadic affair. Back in Los Angeles, Cohen suggested Waits produce a live album. To this end, he performed two live shows at the Record Plant Studio in front of an audience. Again produced and engineered by Howe (as all his future Asylum releases would be), the recording was released as Nighthawks at the Diner in October 1975.He followed this with a week's residency at the Reno Sweeney nightclub, an off-Broadway–style club in New York City. In December he appeared on the PBS concert show Soundstage. From March to May 1976, he toured the U.S., telling interviewers that the experience was tough and that he was drinking too much alcohol. In May, he embarked on his first tour of Europe, performing in London, Amsterdam, Brussels, and Copenhagen. On his return to Los Angeles, he joined his friend Chuck E. Weiss by moving into the Tropicana motel in West Hollywood, a place that already had an established reputation in rock music circles. Visitors noted that his two-room apartment there was heavily cluttered. He was living in what biographer Hoskyns later called a "pastiche of poverty"; Waits told the LA Times that "You almost have to create situations in order to write about them, so I live in a constant state of self-imposed poverty".Small Change and Foreign Affairs: 1976–1978

In July 1976, he recorded the album Small Change, again produced by Howe. In later years, he described it as a seminal episode in his development as a songwriter, describing it as the point when he became "completely confident in the craft". On release, the album was critically well received and was his first release to break into the Billboard Top 100 Album List, peaking at number 89. Later, biographer Patrick Humphries called Small Change Waits's "masterpiece". He received growing press attention, being profiled in Newsweek, Time, Vogue, and The New Yorker; he had begun to accrue a cult following. He went on tour to promote the new album, backed by the Nocturnal Emissions (Frank Vicari, Chip White and Fitz Jenkins). In reference to his song "Pasties and a G-String", a female stripper came onstage during his performances.He began 1977 by touring Japan for the first time. Back in Los Angeles, he encountered various problems. One female fan, recently escaped from a mental health institution in Illinois, began stalking him and lurking outside his Tropicana apartment. In May 1977, <mask> and close friend Chuck E. Weiss were arrested for fighting with police officers in a coffee shop. They were charged with two counts of disturbing the peace but were acquitted after the defence produced eight witnesses who refuted the police officers' account of the incident. In response, Waits sued the Los Angeles Police Department and five years later was awarded $7,500 in damages. In July and August 1977, he recorded his fourth studio album, Foreign Affairs; Bob Alcivar had been employed as its arranger.The album included "I Never Talk to Strangers", a duet with Midler, with whom he was still in an intermittent relationship. She appeared with him at the Troubadour to sing the song; the next day he repaid the favor by performing at a gay rights benefit at the Hollywood Bowl that Midler was involved with. Foreign Affairs was not as well received by critics as its predecessor, and unlike Small Change failed to make the Billboard Top 100 album chart. That year, he began a relationship with the singer-songwriter Rickie Lee Jones; their work and styles influenced each other. In October 1977, he returned to touring with the Nocturnal Emissions; it was on this tour that he first began using props onstage, in this case a street lamp. Again, he found the tour exhausting. In March 1978, he embarked on his second tour of Japan.During these years, Waits sought to

masks:
Thomas Alan Waits
Waits
Waits
Waits
Waits
Tom Rush
Waits
Waits
Waits
Waits
Waits
Waits
Waits


texts:
 broaden his career beyond music by involving himself in other projects. Waits became friends with the actor and director Sylvester Stallone and made his first cinematic appearance as a cameo part in Stallone's Paradise Alley (1978); Waits appeared as a drunk piano player. With Paul Hampton, Waits also began writing a movie musical, although this project never came to fruition. Another of the projects he began at this time was a book about entertainers of the past whom he admired. Blue Valentine and Heartattack and Vine: 1978–1980

In July 1978, <mask> began the recording sessions for his album Blue Valentine. Part way through the sessions, he replaced his musicians in order to create a less jazz-oriented sound; for the album, he switched from a piano to an electric guitar as his main instrument. For the album's back cover, Waits used a picture of himself and Jones leaning against his car, a 1964 Ford Thunderbird, taken by Elliot Gilbert.From the album, Waits's first single was released, a cover of "Somewhere", but it failed to chart. For his Blue Valentine tour, <mask> assembled a new band; he also had a gas station built for use as a set during his performances. His support act on the tour was Leon Redbone. In April, he embarked on a European tour, there making television appearances and press interviews; in Austria he was the subject of a short documentary. From there, he flew to Australia for his first tour of that country before returning to Los Angeles in May. Waits was dissatisfied with Elektra-Asylum, whom he felt had lost interest in him as an artist in favor of their more commercially successful acts like the Eagles, Linda Ronstadt, Carly Simon, and Queen. Jones's musical career was taking off; after an appearance on Saturday Night Live, her single "Chuck E.'s In Love" reached number 4 in the singles chart, straining her relationship with Waits.Their relationship was further damaged by Jones's heroin addiction. <mask> joined Jones for the first leg of her European tour, but then ended his relationship with her. Her grief at the breakup was channelled into the 1981 album Pirates. In September, <mask> moved to Crenshaw Boulevard to be closer to his father, before deciding to relocate to New York City. He initially lived in the Chelsea Hotel before renting an apartment on West 26th Street. On arriving in the city, he told a reporter that he "just needed a new urban landscape. I've always wanted to live here.It's a good working atmosphere for me". In the city, he contemplated writing a Broadway musical to be based on Thornton Wilder's Our Town. The film director Francis Ford Coppola then asked <mask> to return to Los Angeles to write a soundtrack for his forthcoming film, One from the Heart, which was to be set in Las Vegas. Waits was excited, but conflicted, by the prospect; Coppola wanted him to create music akin to his early work, a genre that he was trying to leave behind, and thus he characterised the project as an artistic "step backwards" for him. He nevertheless returned to Los Angeles to work on the soundtrack in a room set aside for the purpose in Coppola's Hollywood studios. This style of working was new to Waits; he later recalled that he was "so insecure when I started... I was sweating buckets".Waits was nominated for the 1982 Academy Award for Original Music Score. <mask> still contractually owed Elektra-Asylum a further album, so took a break from Coppola's project to write an album that he initially called White Spades. He recorded the album in June; it was released in September as Heartattack and Vine. The album was more guitar-based and had—according to Humphries—"a harder, R&B edge"—than any of its predecessors. It again broke into the Top 100 Album Chart, peaking at number 96. Reviews were generally good. Hoskyns called it "one of Waits's pinnacle achievements" as an album.One of its tracks, "Jersey Girl", was subsequently covered by Bruce Springsteen. Waits was grateful, both for the revenue that the cover brought him and because he felt appreciated by a songwriter whom he admired. Swordfishtrombones and New York City: 1980–1984

While on the set of One from the Heart, Waits met Kathleen Brennan, a young Irish-American woman working as an assistant story editor; Waits later described encountering her as "love at first sight". They were engaged to be married within a week. In August 1980, they married at a 24-hour wedding chapel on Manchester Boulevard in Watts before honeymooning in Tralee, a town in County Kerry, Ireland, where Brennan had family. Returning to Los Angeles, the couple moved into a Union Avenue apartment. Hoskyns noted that with Brennan, "Waits had found the stabilizing, nurturing companion he'd always wanted", and that she brought him "a sense of emotional security he had never known" before.At the same time, many of his old friends felt cut off after his marriage. Brennan shunned the media and refused all interview requests. Recording of <mask>'s One from the Heart soundtrack began in October 1980 and continued until September 1981. A number of the tracks were recorded as duets with Crystal Gayle; Waits had initially planned to duet with Midler but she proved unavailable. The film was released in 1982, to largely poor reviews. Waits makes a small cameo in it, playing a trumpet in a crowd scene. <mask>'s soundtrack album, also titled One from the Heart, was released by Columbia Records in 1982.Waits had misgivings about the album, thinking it over-produced. Humphries thought that working with Coppola was an important move in <mask>'s career: it "led directly to Waits moving from cult (i.e. largely unknown) artiste to center-stage." Newly married and with his Elektra-Asylum contract completed, Waits decided that it was time to artistically reinvent himself. He wanted to move away from using Howe as his producer, although the two parted on good terms. With Brennan's help, he began the process of firing Cohen as his manager, with he and Brennan taking on managerial responsibilities themselves. He came to believe that Cohen had been swindling him out of much of his earnings, later relating that "I thought I was a millionaire and it turned out I had, like, twenty bucks."Waits credited Brennan with introducing him to much new music, most notably the work of Captain Beefheart, a key influence on the direction in which he wanted to take his music. He later noted that "once you've heard Beefheart it's hard to wash him out of your clothes. It stains, like coffee or blood." He also came under the influence of Harry Partch, a composer who created his own instruments out of everyday materials. Waits began to use images rather than moods or characters as the basis for his songs. Waits wrote the songs which would be included on the album Swordfishtrombones during a two-week trip to Ireland. He recorded it at Sunset Sound studios and produced the album himself; Brennan often attended the sessions and gave him advice.Swordfishtrombones abandoned the jazz sound characteristic of his earlier work; it was his first album not to feature a saxophone. When the album was finished, he took it to Asylum, but they declined to release it. Waits wanted to leave the label; in his view, "They liked dropping my name in terms of me being a 'prestige' artist, but when it came down to it they didn't invest a whole lot in me in terms of faith". Chris Blackwell of Island Records learned of <mask>'s dissatisfaction and approached him, offering to release Swordfishtrombones; Island had a reputation for signing more experimental acts, such as King Crimson, Roxy Music, and Sparks. Waits did not tour to promote the album, partly because Brennan was pregnant. Although not enthusiastic regarding the new trend for music videos, he appeared in one for the song "In the Neighborhood", co-directed by Haskell Wexler and Michael A. Russ. Russ also designed the Swordfishtrombones album cover, featuring an image of Waits with Lee Kolima, a circus strongman, and Angelo Rossito, a dwarf.According to David Smay, Swordfishtrombones was "the record where <mask>s radically reinvented himself and reshaped the musical landscape." The album was critically well received; the New Musical Express named it album of the year. In 1983, <mask> appeared in three more Coppola films: in Rumble Fish he played Benny, a philosopher running a billboard store, in The Outsiders he was Buck Merrill, a one-line role, and in The Cotton Club he again made a cameo appearance, this time as the eponymous club's maître'd. He later stated that "Coppola is actually the only film director in Hollywood that has a conscience... most of them are egomaniacs and money-grabbing bastards". In September, Brennan gave birth to their daughter, Kellesimone. Waits was determined to keep his family life separate from his public image and to spend as much time possible with his daughter. With Brennan and their child, Waits moved to New York City to be closer to Brennan's parents and Island's U.S. office.They settled into a loft apartment in Little Spain, near to Union Square. Waits found New York City life frustrating, although it allowed him to meet many new musicians and artists. He befriended John Lurie of The Lounge Lizards, and the duo began sharing a music studio in the Westbeth artist-community building in Greenwich Village. He began networking in the city's arts scene, and at a party Jean-Michel Basquiat held for Lurie he met the filmmaker Jim Jarmusch. Rain Dogs and Franks Wild Years: 1985–1988

Waits recorded his eighth studio album, Rain Dogs, at the RCA Studios in mid 1985. Waits called the album "kind of an interaction between Appalachia and Nigeria". Keith Richards played on several tracks; Richards later acknowledged Waits's encouragement of his first solo album, Talk is Cheap.The filmmaker Jean-Baptiste Mondino directed a music video of the Rain Dogs track "Downtown Train". The song was subsequently covered by Patty Smyth in 1987, and later by Rod Stewart, where it reached the top five in 1990. In 1985, Rolling Stone magazine named Waits its "Songwriter of the Year", and in 2003 it would rank Rain Dogs among the 500 Greatest Albums of All Time. In September 1985, his son Casey was born. Waits assembled a band and went on tour, kicking it off in Scotland in October before proceeding around Europe and then the US. He changed the setlist for each performance; most of the songs chosen were from his two Island albums. Returning to the U.S., he travelled to New Orleans to appear in Jarmusch's film, Down by Law.Jarmusch wrote Down by Law with Waits and Lurie in mind; they played two of the three main roles, with Roberto Benigni as the third. The film opened and closed with Waits songs taken from Rain Dogs. Jarmusch noted that "<mask> and I have a kindred aesthetic. An interest in unambitious people, marginal people." The pair developed a friendship; Waits called Jarmusch "Dr Sullen", while Jarmusch called Waits "The Prince of Melancholy". <mask> had devised the idea of a musical play, Franks Wild Years, which would be loosely based on the eponymous song from Swordfishtrombones. In late 1985, he reached an agreement that the play would be performed by the Steppenwolf Theatre Company in Chicago's Briar Street Theatre for a three-month stretch from June 1986.During the show, <mask> starred as the central character, Frank. Reviews were generally positive. He had initially considered a run in New York City, but decided against it. The songs from the show were recorded at Universal Recording Studios for his ninth studio album, Franks Wild Years, and released by Island a year later, in 1987. After its release, Waits toured North America and Europe, his last full tour for two decades. Two of these performances were recorded and used as the basis for a concert film directed by Chris Blum, Big Time. Waits had also continued interacting and working with other artists he admired.He was a great fan of The Pogues and went on a Chicago pub crawl with them in 1986. The following year, he appeared as a master of ceremonies on several dates of Elvis Costello's "Wheel of Fortune" tour. In September 1987, he joined singers like Springsteen, Costello, and k. d. lang by appearing in a "Black and White Night" at Los Angeles' Ambassador Hotel to celebrate the life of singer-songwriter Roy Orbison, of whom Waits was a fan. 1988 saw <mask> contribute a cover of the song "Heigh Ho" in Hal Willner's Disney-themed album, Stay Awake. In fall 1986, Waits took a small part in Candy Mountain, a film by Robert Frank and Rudy Wurlitzer, as millionaire golf enthusiast Al Silk. He then starred in Hector Babenco's Ironweed, as Rudy the Kraut, a more substantial role. Hoskyns noted that Babenco's film put Waits "on the mainstream Hollywood map as a character actor".In fall 1987, <mask> and his family left New York and returned to Los Angeles, settling on Union Avenue. In summer 1988, he appeared as a hitman in Robert Dornhelm's film Cold Feet, filmed in Gallatin National Forest, and that year he also provided his voice for Jarmusch's film Mystery Train. Although Waits had provided a voice-over for a 1981 television advert for Butcher's Blend dog food, he hated when musicians allowed companies to use their songs in advertising; he said that "artists who take money for ads poison and pervert their songs". In November 1988, he brought a lawsuit against Frito-Lay for using an actor imitating his voice to advertise Doritos; it came to court in April 1990, and Waits won the case in 1992. He received a $2.6 million settlement, a sum larger than his earnings from all of his previous albums combined. This earned him and Brennan a reputation as tireless adversaries. The Black Rider, Bone Machine, and Alice: 1989–1998

In 1989, Waits began planning a collaboration with Robert Wilson, a theatre director he had known throughout the 1980s.Their project was a "cowboy opera" titled The Black Rider. It was to be based around a German folk tale, that of the Freischütz. In 2004, Waits related that "Wilson is my teacher. There's nobody that's affected me that much as an artist". <mask> was scheduled to write the music for the play, and at the suggestion of Allen Ginsberg, <mask> and Wilson approached the Beat poet William S. Burroughs to write the play. To do this, they flew to Kansas to meet with

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 Burroughs, who agreed to join their project. Waits travelled to Hamburg in May 1989 to work on the project, and was later joined there by Burroughs.The Black Rider debuted in Hamburg's Thalia in March 1990. On completing its run at the Thalia, the play went on an international tour, with a second run of performances occurring in the mid-2000s. In June 1989, <mask> travelled to London to appear in Ann Guedes' film Bearskin: An Urban Fairytale. He proceeded to Ireland, where he was joined by Brennan and spent time with her family. In December 1989, he began a stint as Curly, a mobster's son, at the Los Angeles Theater Center production of Thomas Babe's play Demon Wine. Over the next four years, he made seven film appearances. He nevertheless repeatedly told press that he did not see himself as an actor, but only as someone who did some acting.He made a brief appearance as a plainclothes cop in The Two Jakes (1990) and then a disabled war veteran in Terry Gilliam's The Fisher King (1991). He had a cameo in Steve Rash' Queens Logic (1991) and then played a pilot-for-hire in Héctor Babenco's At Play in the Fields of the Lord (1991). He appeared as Renfield in Coppola's 1992 film Bram Stoker's Dracula. Waits also starred as Earl Piggot, an alcoholic limousine driver, in Robert Altman's Short Cuts. Hoskyns stated that this "may be the best performance Waits ever gave as an actor." In 1991, <mask> and his family moved to the outskirts of Sonoma, but after a bypass road was built nearby they moved again, relocating to a secluded house near Valley Ford. In 1992, Waits gave up drinking alcohol and joined Alcoholics Anonymous.Between 1991 and 1993, much of <mask>'s early work was assembled and released as the multi-volume <mask>: The Early Years. Waits was angered at this, describing many of his early demos as "baby pictures" that he would not want released. In April 1992, <mask> released the soundtrack album to Jarmusch's Night on Earth. Largely instrumental, it had been recorded at the Prairie Sun studio in Cotati. In the early 1990s he took part in several charitable causes; in 1990 he contributed a song to the HIV/AIDS benefit album Red Hot + Blue and later appeared at a Wiltern Theater fundraising show for the victims of the 1992 Los Angeles riots. In August 1992, <mask> released his tenth studio album, Bone Machine. The album was recorded in an old storage room at Prairie Sun.Waits described wanting to explore "more machinery sounds" with the album. Eight of the album tracks were co-written by Brennan, reflecting her growing impact over his work. The album cover was co-designed by <mask> and Jesse Dylan. Jarmusch filmed a video for the album song "I Don't Wanna Grow Up". Critic Steve Huey calls it "perhaps <mask>'s most cohesive album... a morbid, sinister nightmare, one that applied the quirks of his experimental '80s classics to stunningly evocative—and often harrowing—effect... Waits's most affecting and powerful recording, even if it isn't his most accessible." The album won a Grammy Award for Best Alternative Album; in response to the news, <mask> told Jarmusch: "alternative to what?!" <mask> next appeared in Jarmusch's film Coffee and Cigarettes, where he was filmed having a conversation with the rock singer Iggy Pop.Waits decided that he wanted to record an album of the songs written for The Black Rider play, doing so at Los Angeles' Sunset Sound Factory. The album, The Black Rider, was released in the fall of 1993. <mask> and Wilson decided to collaborate again, this time on an operatic treatment about the novelist Lewis Carroll's relationship with Alice Liddell, who had provided the inspiration for Alice in Wonderland and Through the Looking Glass. Again scheduled to premier at the Thalia, they began working on the project in Hamburg in early 1992. Waits characterized the songs he wrote for the play as "adult songs for children, or children's songs for adults". In his lyrics, Waits drew on his increasing interest in freak shows and the physically deformed. He thought the play itself was about "repression, mental illness and obsessive, compulsive disorders".Alice premiered at the Thalia in December 1992. In early 1993, Brennan was pregnant with <mask>'s third child, Sullivan. He decided to reduce his workload so as to spend more time with his children; this isolation spawned rumours that he was seriously ill or had separated from his wife. For three years, he turned down all offers to perform gigs or appear in movies. However, he made several cameos and guest appearances on albums by musicians he admired. The English musician Gavin Bryars visited him in California and Waits added vocals for a re-release of Bryars's Jesus' Blood Never Failed Me Yet, which was then nominated for the 1993 Mercury Music Award. In February 1996, he held a benefit performance to raise funds for the legal defence of his friend Don Hyde, who had been charged with distributing LSD.He also contributed two songs to the soundtrack album of the film Dead Man Walking, released that year, while he then contributed another song to the 1997 film The End of Violence. In 1998, Island released Beautiful Maladies, a compilation of 23 Waits tracks from his five albums with the company; he had been allowed to select the tracks himself. That year, Waits also produced and funded Weiss's album, Extremely Cool, as a favor to his old friend. Mule Variations and Woyzeck: 1999–2003

After his contract with Island expired, Waits decided not to try to renew it, particularly as Blackwell had resigned from the company. He signed to a smaller record label, Anti-, recently launched as an offshoot of the punk-label Epitaph Records. He described the company as "a friendly place". The president of Anti-, Andy Kaulkin, said the label was "blown away that <mask> would even consider us.We are huge fans." Waits himself praised the label: "Epitaph is a label run by and for artists and musicians, where it feels much more like a partnership than a plantation... We shook on the deal over a coffee in a truck stop. I know it's going to be an adventure." In March 1999, Anti- released his album Mule Variations. Waits had been recording the tracks at Prairie Sun since June 1998. The tracks often dealt with themes involving rural life in the United States and were influenced by the early blues recordings made by Alan Lomax; Waits coined the term "surrural" ("surreal" and "rural") to describe the album's contents. On its release, Mule Variations reached number 30 on the U.S.Billboard 200, representing the highest showing of a Waits album. The album was critically well received, being named "Album of the Year" by Mojo magazine, and was given a Grammy Award for Best Contemporary Folk Album. On the Grammy's categorization of the album as folk music, Waits noted: "That's not a bad thing to be called if you've got to be in some kind of category." Also in March 1999, Waits gave his first live show in three years at Paramount Theater in Austin, Texas as part of the South by Southwest festival. He subsequently appeared in an episode of VH1's Storytellers television show, where he performed several tracks. In the later part of the year he embarked on the Mule Variations tour, primarily in the U.S. but also featuring dates in Berlin. In October, he performed at Neil Young's annual Bridge School benefit gig.That year, he also appeared in the Kinka Usher film Mystery Men, a comic book spoof, where he played Dr A. Heller, an eccentric inventor living in an abandoned amusement park. In 2000, Waits produced Wicked Grin, the 2001 album of his friend John Hammond; the album contained several covers of Waits songs. Also in 2000, Waits began writing songs for Wilson's production of the Georg Büchner play Woyzeck, scheduled to start at the Betty Nansen Theater in Copenhagen in November. He initially worked on the songs at home before traveling to Copenhagen for rehearsals in October. Waits stated that he liked the play because it was "a proletariat story... about a poor soldier who is manipulated by the government". He decided to then record the songs he had written for both Alice and Woyzeck, placing them on separate albums. For these recordings, he brought in a range of jazz and avant-garde musicians from San Francisco.The two albums, titled Alice and Blood Money, were released simultaneously in May 2002. Alice entered the U.S. album chart at number 32 and Blood Money at number 33, his highest charting positions at that time. Waits described Alice as being "more metaphysical or something, maybe more water, more feminine", while Blood Money was "more earthbound, more carnival, more the slaving meat-wheel that we're all on". Of the two, Alice was better received by critics. In May 2001, <mask> accepted a Founders Award at the 18th annual American Society of Composers, Authors and Publishers (ASCAP) Pop Music Awards in a ceremony at Los Angeles' Beverly Hilton Hotel. That same month, he joined singers Randy Newman and Nancy and Ann Wilson of Heart in launching a $40 million lawsuit against mp3.com for copyright infringement. In September 2002, he appeared at a hearing on accounting practices within the music industry in California.There, he expressed satisfaction with Anti but declared that more broadly, "the record companies are like cartels. It's a nightmare to be trapped in one." In September 2003, Waits performed at the Healing the Divide fundraiser in New York City, and contributed a track to that year's release of the album, Tribute to the Ramones. This latter track earned him a Grammy Award nomination for "Best Vocal Rock Performance". Real Gone: 2004–2011

In 2004, Waits's fifteenth studio album, Real Gone, was released. Waits had recorded it in an abandoned schoolhouse in Locke. Hoskyns called the album Waits's “roughest, most unkempt music to date".It incorporated Waits beatboxing, a technique he had picked up from his growing interest in hip hop. Humphries characterised it as "the most overtly political album of <mask>'s career". It featured three highly political songs expressing <mask>' anger at the presidency of George W. Bush and the Iraq War. He stated that "I'm not a politician. I keep my mouth shut because I don't want to put my foot in it. But at a certain point, saying absolutely nothing is a political statement of its own." Real Gone received largely good reviews.It made the Billboard Top 30 as well as the Top 10 in several European album charts, also earning him a nomination for Best International Male Solo Artist at the 2005 Brit Awards. In October 2004, he launched a tour in Vancouver before heading to Europe, where his shows were sell-outs: his only London gig saw 78,000 applications for around 3,700 available tickets. After several years of making no film appearances, he played a gun-toting Seventh-day Adventist in Tony Scott's 2005 film Domino. That year, he also appeared in Benigni's film The Tiger and the Snow, for which Waits had travelled to Italy. He followed this with a performance as an angel posing as a tramp in the 2007 film Wristcutters: A Love Story. In the summer of 2006, Waits embarked of a short tour of southern and Midwest states, titled Orphans. His son Casey played with him in the band accompanying him on the tour.In November 2006, he issued Orphans: Brawlers, Bawlers & Bastards, a 54-song three-disc box set of rarities, unreleased tracks, and new compositions. Waits described its contents as "songs that fell behind the stove while making dinner". Orphans made the top ten in several European charts. That year, he also made another guest appearance on the Sparklehorse album Dreamt for Light Years in the Belly of a Mountain. In January 2008, Waits performed at a benefit for Bet Tzedek Legal Services—The House of Justice, a nonprofit poverty law center, in Los Angeles. In 2008 Waits embarked on his Glitter and Doom Tour, starting in the U.S. and then moving to Europe. Both of his sons played with him on the tour.At the June concert in El Paso, Texas, he was awarded the key to the city. <mask> continued acting, appearing as Mr Nick in Terry Gilliam's 2009 film The Imaginarium of Doctor Parnassus. Waits found himself in a situation similar to his earlier one with Frito Lay in 2000 when Audi approached him, asking to use "Innocent When You Dream" (from Franks Wild Years) for a commercial broadcast in Spain. Waits declined, but the commercial ultimately featured music very similar to that song. Waits undertook legal action, and a Spanish court recognized that there had been a violation of <mask>'s moral rights in addition to the infringement of copyright. The production company, Tandem Campany Guasch, was ordered to pay compensation to Waits through his Spanish publisher. Waits later joked that they got the name of the song wrong, thinking it was called "Innocent When You Scheme".In 2005, Waits sued Adam Opel AG, claiming that, after having failed to sign him to sing in their Scandinavian commercials, they had hired a sound-alike singer. In 2007, the suit was settled, and Waits gave the sum to charity. Bad as Me and later work: 2011–present

In 2010, Waits was reported to be working on a new stage musical with director and long-time collaborator Robert Wilson and playwright Martin McDonagh. In early 2011, Waits completed a set of 23 poems titled Seeds on Hard Ground, which were inspired by Michael O'Brien's portraits of the homeless in his book, Hard Ground, which included the poems alongside the portraits. In anticipation of the book release, Waits and ANTI- printed limited edition chapbooks of the poems to raise money for Redwood Empire Food Bank, a homeless referral and family support service in Sonoma County, California. As of January 26, 2011, four editions, each limited to 1,000 copies, sold out, raising $90,000 for the food bank. In March 2011, Waits was inducted into the Rock and Roll Hall of Fame by Neil Young.In accepting the award, he stated: "They say I have no hits and that I'm difficult to work with... like it's a bad thing." On February 24, 2011, it was announced via <mask>'s official website that he had begun work on his next studio album. Waits said through his website that on August 23 he would "set the record straight" in regards to rumors of a new release. On August 23, the title of the new album was revealed to be Bad as

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 Me, and the lead single and title track started being offered via Amazon.com and other sites. The album was released on October 24. In 2012, Waits had a supporting role in the crime comedy film, Seven Psychopaths, written and directed by Martin McDonagh, where he played a retired serial killer. In 2013, Waits's cover of "Shenandoah," recorded with Keith Richards, was included on the compilation album Son of Rogue's Gallery: Pirate Ballads, Sea Songs & Chanteys.The album was released February 19 on ANTI-. On May 5, 2013, Waits joined the Rolling Stones on stage at the Oracle Arena in Oakland, California to duet with Mick Jagger on the song "Little Red Rooster". The same year, the songs "Hold On" and "I Don't Wanna Grow Up" were sung by the character Beth Greene (Emily Kinney) in The Walking Dead episodes "I Ain't a Judas" and "Infected", respectively. On October 27, 2013, Waits performed at the 27th annual Bridge School Benefit concert in Mountain View California. Rolling Stone called it a "triumph". Over the years, <mask> made six regular appearances on the Late Show with David Letterman, and on May 14, 2015, he sang "Take One Last Look" on the show's fifth to last broadcast. He was accompanied by Larry Taylor on upright bass and Gabriel Donohue on piano accordion, with the horn section of the CBS Orchestra.In the fall of 2015, <mask>' work was featured in several songs adapted for stage performance in Chicago Shakespeare theater's production of The Tempest. In 2016, Waits embarked upon litigation against French artist Bartabas, who had used several of Waits' songs as a backdrop to a theatrical performance. Claims and counterclaims were made, with Bartabas claiming to have sought and been granted permission to use the material (and to have paid $400,000 for the privilege) but with Waits claiming that his identity had been stolen. The court ruled in Bartabas's favor, and the circus performance was allowed to continue, although the threat of further litigation meant that it was not performed outside France and the resulting DVD release does not contain Waits's material. In 2018, <mask> had a feature role in The Ballad of Buster Scruggs, a western anthology film by the Coen Brothers, which was released on Netflix. His character, The Prospector in the "All Gold Canyon" story, digs for gold in a valley in the Old West. In 2021, Waits had a supporting role in Licorice Pizza, a coming-of-age film by Paul Thomas Anderson.Musical style

Hoskyns described the "core sound" of <mask>'s early work as being that of a "Beat verse/jazz-trio". There were jazz elements in <mask>' early work. During his Blue Valentine tour, Waits began experimenting more with sounds derived from the blues, with Humphries arguing that Waits had "always been indebted" to the blues. In later life, he preferred to be thought of as a blues singer, although accepted the label of a folk singer. Waits has made use of blues, jazz, vaudeville and experimental. Waits described his voice as being "the sand in the sandwich". He has modelled some of his early vocal mannerisms after Richard Buckley.Waits was usually reticent to discuss the specifics of his song-writing with journalists. His work was influenced by his voracious reading and by conversations that he overheard in diners. A major influence was the Beat writer Jack Kerouac, although other writers who inspired him included Charles Bukowski, Nelson Algren, John Rechy, and Hubert Selby Jr. He was also inspired by the comedian Lenny Bruce. Musically, he was influenced by Randy Newman, and Dr. John. He regarded James Brown as one of his musical heroes, and was also a great fan of the Rolling Stones. He has praised Dylan, noting that "for a songwriter, Dylan is as essential as a hammer and nails and saw are to a carpenter", as well as the country musician Merle Haggard, relating: "Want to learn how to write songs?Listen to Merle Haggard." As of 1982, <mask>'s musical style shifted; Hoskyns noted that this new style "was fashioned out of diverse and disparate ingredients". This new style was influenced by Captain Beefheart and Harry Partch. Noting that he had a "gravelly timbre" to his voice, Humphries characterized <mask>'s voice as one that "sounds like it was hauled through Hades in a dredger". His voice was described by critic Daniel Durchholz as sounding as though "it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car". Rolling Stone also noted his "rusted plow-blade voice". One of <mask>'s own favorite descriptions of his vocal style was that of "Louis Armstrong and Ethel Merman meeting in Hell".Humphries cited him, alongside Kris Kristofferson, John Prine, and Randy Newman, as a number of U.S. singers who followed Dylan in breaking away from conventional styles of popular music and singing with their "distinctive" voices. Humphries described "Waitsworld" as a place of "the ricocheted romantics bent out of shape by a broad who should have known better; the twisted psychotics; the loners; the losers". By Blue Valentine, violent death had become a recurrent lyrical theme in his work; he wrote the song "Sweet Little Bullet" from that album, for instance, about a 15-year-old girl who committed suicide by jumping from a high window along the Hollywood Bowl. In his later work, orphanhood also became a recurring theme. Many of his songs make reference to fictional locations that he has invented, such as the eponymous term in his song "Burma Shave". Hoskyns also noted that many Waits songs, such as "Burma Shave" and "Georgia Lee", reflect an "abiding concern for runaways and kids in danger". Andy Gill expressed the view that throughout Waits's oeuvre, "the theme of lowlife redemption, of escape, is ever-present".Waits tended to wear all-black. Humphries noted that "on stage, Waits is a consummate performer, a raconteur of the recherché, and a genuine wit." Waits has stated that a performance should be "a spectacle and entertaining". It was on his 1977 tour for Foreign Affairs that he started employing props as part of his routine; one recurring prop was a megaphone through which he would shout at the audience. Personal life

During the 1970s, he had a brief relationship with the comedian Elayne Boosler, an intermittent relationship with Bette Midler, as well as a relationship with Rickie Lee Jones. In 1980, Waits married his wife and frequent collaborator, Kathleen Brennan. They live in Sonoma County, California, and have three children: Kellesimone (born 1983), Casey (born 1985) and Sullivan (born 1993).After he married and had children, Waits became increasingly reclusive. Safeguarding the privacy of his family life became very important to him. During interviews, he deflected questions about his personal life, and refused to sanction any biography. When Barney Hoskyns was researching his unauthorized 2009 biography, Lowside of the Road: A Life of <mask>, Waits and his wife asked people not to talk to him. Hoskyns believed that it was Brennan who was responsible for the "wall of inaccessibility" surrounding Waits. Stage persona
Waits was determined to keep a distance between his public persona and his personal life. According to Hoskyns, Waits hid behind his persona, noting that "<mask>s is as much of a character created for his fans as it is a real man".In Hoskyns' view, <mask>' self-image was in part "a self-protective device, a screen to deflect attention". A few music journalists have gone so far as to suggest that Waits was a "poseur". Hoskyns regarded Waits' "persona of the skid-row boho/hobo, a young man out of time and place" as an "ongoing experiment in performance art". He added that Waits had adopted a "self-appointed role as the bard of the streets". Mick Brown, a music journalist from Sounds who interviewed Waits in the mid-1970s, noted that "he had immersed himself in this character to the point where it wasn't an act and had become an identity". Louie Lista, a friend of <mask>' during the 1970s, stated that the singer's general attitude was that of "I'm an outsider, but I'll revel in being an outsider". In a similar manner to contemporaries like Bob Dylan and Neil Young, Waits was known for cutting contact with figures he worked with in his past.Another friend from the period, Troubadour-manager Robert Marchese, related that Waits cultivated "the whole mystique of this really funky dude and all that Charles Bukowski crap" to give "his impression of how funky poor folk really are", whereas in reality Waits was "basically a middle-class, San Diego mom-and-pop-schoolteacher kid". Humphries thought that there was a "conservative element" to Waits' persona, stating that behind his public image, "Waits has always been more of a white-picket-fence kind of guy than you might imagine." Jarmusch described Waits as "a very contradictory character", stating that he is "potentially violent if he thinks someone is screwing with him, but he's gentle and kind too". Herbert Hardesty, who worked with Waits on Blue Valentine, called him "a very pleasant human being, a very nice person". Humphries referred to him as "an essentially reticent man... reflective and surprisingly shy". He had a sense of humour and enjoyed jokes. Hoskyns described Waits as "unequivocally—some would say almost gruffly—heterosexual".Hoskyns suggested that Waits had an "on-off affair with alcohol, never quite able to shake it off". During the 1970s, he was known as a heavy drinker and a smoker but avoided any drugs harder than cocaine. He told one interviewer, "I discovered alcohol at an early age, and that guided me a lot." Humphries suggested that Waits' use of alcohol as opposed to illicit drugs marked him out as being different from many of his contemporaries on the 1970s U.S. music scene. During interviews, Waits would avoid questions about his personal life, go off on a tangent, and throw in trivia. Humphries noted that Waits often supplied interviewers with "droll one-liners", something he termed "Waitsisms", observing that the singer was "dripping with wit and vinegar". Waits was known for getting irate with journalists,
Waits disliked touring; but Hoskyns added that he had "a strong work ethic".He had a hatred of the Internet. When asked about his religious beliefs, he noted: "With the God stuff I don't know. I don't know what's out there any more than anyone else". Reception and legacy

During his career, Waits has had little chart success and no major commercial success. Instead, he has attracted a cult fan following. Hoskyns referred to him as being "as important an American artist as anyone the twentieth century has produced", while Humphries described him as "one of America's finest post-Dylan singer-songwriters". Humphries noted that at the time of his emergence to public fame, Waits represented "a unique voice on the late Seventies pop radar".He thought that Waits was, along with the painter Edward Hopper, "one of the two great depicters of American isolation". Hoskyns noted that by the end of the twentieth century, "Waits was an iconic alternative figure, not just to the fans who'd grown up with him but to subsequent generations of music geeks", coming to be "universally acknowledged as an elder statesman of 'alternative' rock". The journalist Karen Schoemer of Newsweek stated that "to the postboomer generation, he's more Dylan than Dylan. [His] melting-pot approach to Americana, his brilliant narratives and his hardiness against commercial trends have made him the ultimate icon for the alternative-minded." He was included among the 2010 list of Rolling Stones 100 Greatest Singers, as well as the 2015 Rolling Stone's 100 Greatest Songwriters of All Time. A number of events have been held for fans of Waits's work, such as "Waiting for Waits" in Mallorca and the "Straydogs Party" in Denmark. Various cabaret shows have been held devoted to Waits's songs, including Robert Berdahl's Warm Beer, Cold Women and Stewart D'Arrietta's Belly of a Drunken Piano.When the actor Robert Carlyle formed a theatre, he named it the Rain Dog Theatre after Waits' album. Among the celebrities who have described themselves as Waits fans are Johnny Depp, John Oliver, Jordan Peterson, Jerry Hall, Megan Mullally, and Nick Offerman. In Britain, prominent figures who have described themselves as Waits fans include the historian Simon Schama, the writer Raymond Briggs, the presenter Graham Norton, and the actor Colin Firth. Musicians who noted their admiration for Waits' work included Elvis Costello, Bruce Springsteen, Nanci Griffith, Joe Strummer from the punk rock band The Clash, Michael Stipe of R.E.M., Frank Black of Pixies, and James Hetfield from the heavy metal band Metallica. Bob Dylan, who was a major influence on the young Waits, stated that Waits was one of his "secret heroes". Many different musicians have covered his songs. In 1995, Holly Cole released an album of Waits's covers, Temptation, while in 2008 Scarlett Johansson did the same with her debut album, Anywhere I Lay My Head.Bruce Springsteen had a commercial success with his cover of <mask>'s “Jersey Girl", as did Rod Stewart with his covers of Waits tracks "Downtown Train" and "<mask> Traubert's Blues". Johnny Cash covered "Down There by the Train" on his 1994 album, American Recordings, calling Waits "a very special writer, my kind of writer". Willie Nelson included a cover of a Waits track on his album, It Always Will Be. The Ramones covered "I Don't Wanna Grow Up" on their final album, Adios Amigos, while Bob Seger covered "Blind Love","New Coat of Paint", and "Downtown Train", and Norah Jones included a song Waits wrote for her, "Long Way Home", on her album Feels Like Home. Singer-songwriter Tori Amos included a cover of <mask>'s song "Time" on her 2001 cover album Strange Little Girls; she performed the song on the David Letterman Show, the first musical performance on the show after 9/11. His tracks have also been selected for use in film. The director Julian Schnabel for instance chose two Waits tracks for inclusion in his award-winning 2008 film The Diving Bell and the Butterfly.The 1995 film, Smoke, used "Innocent When You Dream" as the soundtrack to the closing sequence, "Auggie Wren's Christmas Story", which appeared at the end of the film during and after the closing

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<mask> (, Ṣaddīqah Muḥammad `Arabī) (died July 2007) was an American/Arab American social anthropologist and author. Born in the Libyan capital of Tripoli, she immigrated with her family to the United States during the late 1970s, eventually settling in Northern California. After obtaining her doctorate, she subsequently served as a Professor of Anthropology at the University of California, Berkeley, San Francisco State University, and Saint Mary's College of California. She was also an active member of the Muslim World League (Rabitat al-Alam al-Islami), one of the largest   in the world consisting of Muslim religious figures from twenty-two countries. She died in July 2007 while visiting relatives in Libya. Literary contributions
In May 1994, Arebi published Women and Words in Saudi Arabia: The Politics of Literary Discourse, where she examines the works of nine contemporary Saudi women writers and their influence on Arabic cultural discourse (see Women in Arab societies). Based on interviews and textual analyses, the study maintains that female writers significantly contribute to the definition and interpretation of history, religion and tradition in Saudi Arabia despite the cultural, political and religious constraints placed on them as women and writers.In this groundbreaking work, Arebi draws on ethnographic and literary evidence to establish the uniqueness of Saudi women writers who: "emerged not only as a subject of discourse but also as generators of discourse producing their own texts and forming their own concepts for comprehending the universe. Since the late 1970s and despite the overwhelming power of discourse about them, women's words were unrelenting and daring in their challenge." She quotes a fatwa (religious legal opinion) by Shaikh Abd-al-Aziz ibn Abd-Allah ibn Baaz from 1978 summarizing the fundamentalist view of women, which the women writers have been trying to change. The opinion states:

Attacking men's guardianship of women is an objection to God and an attack on His Book and on His prudent law. This is great in deity (Kufr akbar) by the consensus of Islam's ulema ... It is absolutely necessary that the newspaper be publicly punished by stopping its publication. The woman who wrote and the editor in-chief must be tried and disciplined in a deterring manner.Her book answers a question she raised:

How do women themselves use words as a means to counter the language of power, and aesthetics as a political strategy for revisions of concepts, ideas, and institutions that are used to control them? However, Arebi argues these writers do not necessarily conform to Western feminists' ideas of resistance or their definitions of patriarchy. In another earlier work, Arebi made an important remark concerning Muslim women:

Overview: Women and Words in Saudi Arabia
In Women & Words in Saudi Arabia: The Politics of Literary Discourse, Arebi employs the Foucauldian notion of discourse to analyze how Saudi women writers comprehend their position within larger contexts of power and perceive their work as creative or journalistic writers as a means of disturbing the "verbal machinery" in charge of theorizing women's roles and behavior. She details the various stylistic approaches adopted by Saudi women prose writers seeking to establish a dialect between opposition to certain aspects of society and affirmation of major cultural values and institutions. Arebi argues that appreciation of these approaches is critical to understanding how Saudi female writers gain access to the field of cultural politics and submit their own interpretations of Islam, gender relationships, and women's potential roles in society. She posits that:

Chapter 1 ("Women's Opportunities & the Social Organization of Writing") investigates literature's social organization and the basis of women writers' legitimacy and the structure of their opportunity to engage in literary activity. Chapter 2 ("History of the Present and the Presence of History: Traffic in Symbols, Knowledge, and Experience") focuses on three writers.Poet Fowziyha Abu-Khalid, is interested in the relationship of literature and religion. She believes "that the right of discussion and of participation in discourse should be accorded to everybody." Change, she believes, depends on the masses, not intellectuals. Ruqayya Ash-Shabib, best known as a short story writer, focuses on ordinary women who profoundly changed history. Two examples are Sheherazade and Balqees, the Queen of Sheba. She believes "that the problem is not male dominance, but rather female submission." Raja'a Alem, a pioneering playwright, thinks literature's primary function is "liberation of the individual."Chapter 3 ("Victimization Literature: The Poetics of Justice & the Politics of Representation") concentrates on three short story authors. Sharifa As-Shamlan "draws most of her stories from the real lives of women with whom she comes in contact as a social worker, especially those in prison." Khayriyya As-Saggaf explains she doesn't "write for someone who is in a hurry, who reads in a car, or who reads while busy doing something else." Najwa Hashim's stories generally deal with women "who struggle with the discrepancy between the real and the ideal." Chapter 4 ("Redefining the Issues: The Politics of Re-vision & the Production of Difference") examines three of the most widely read female Saudi essayists. Juhayer Al-Musa'ed's skill revolves around her ability to ask the right questions without necessarily providing answers. Not especially popular with women readers, Juhayer is seen as "declaring her alliance with men, hence emphasizing the premises of the dominant discourse."Fatna Shaker believes the problem of how societies arrange themselves "can only be solved if understood in broader terms and explored in terms of structural causes." Sohaila Zain Al-Abedin is perceived "by other literary men and women as being in line with the dominant discourse." Chapter 5 ("Literary Marginalization & the Privatization of the Public") deals with the critical response to their writing in which a shift occurs from "the woman as private" yet a subject of public discourse to a situation in which the products of women's minds that are made public are privatized. In the concluding chapter ("Conclusions and Implications") Arebi theorizes the implications of the women writers' role within their culture, and the cultural apparatus driving their discourse. She attempts to answer the question of whether we are justified in seeing their endeavor as a form of resistance, considering that they establish a dialectical relationship between opposition and affirmation of major cultural values and institutions. In the Field: Interviews and Data Collection
After three years of attempts to obtain a visa to conduct field research in Saudi Arabia, she was finally granted one for three months beginning in early March 1989. During those three years, in addition to fulfilling her teaching responsibilities, she immersed herself in reading and identifying most, if not all, Saudi women writers of consequence.Once in the field, most data was generated through personal interviews with current writers, as well as several women who had either written occasionally or discontinued their literary activities. The writers interviewed were also curious about Arebi personally:

Motivations
Arebi dedicated this work to her mother and father, Mohamed Al-Soghayyer <mask>, whose firm belief in Allah ingrained in their family that it is through fairness, hard work, moderation, and tolerance that one can reach other truths and hence achieve a fuller humanity. She learned from them an important Islamic concept that "middleness" (wasaţ), being in the middle, even as a child, does not have to mean "between-ness," being torn or on shaky ground, but can be a firm and advantageous position from which one can see both sides more clearly. Arebi explained that this positive image of wasaţ extended to her scholarly position between two discourses and two civilizations and symbolized her aim to bring these two worlds to a mutual understanding. Lectures
Arebi was a popular lecturer at various conferences regarding Islam and women in the Arab World. On October 4, 1997, she participated in the 51st annual conference hosted by the Middle East Institute in Washington, DC, entitled "The Middle East into the Twenty-First Century." The conference drew over 400 journalists, diplomats, business people, NGOs and academics.In the final panel, Arebi partnered with Fadhil Chalabi of the Center for Global Energy Studies, explaining how the changing dynamics of oil exports will alter the economic and political situation in the Persian Gulf. She lectured at numerous events for Muslim Students Associations, such as one delivered in 1998 during Islam Awareness Week at Stanford University, entitled "Politics of misrepresentation; Women and power in Islamic societies." On February 22, 2007, she presented a public lecture entitled "Discerning Islam: Access, Voice and Contexts of Interpretive Responsibility" for the Center for Islamic Studies of the Graduate Theological Union at UC Berkeley. In one of her final appearances, Arebi lectured on her experiences during Hajj at an event hosted by the Muslim Student Alliance at Santa Clara University on March 1, 2007. Literature
Women and Words in Saudi Arabia: The Politics of Literary Discourse, Columbia University Press (May 1994)
"Gender Anthropology in the Middle East: The Politics of Muslim Women's Misrepresentation". American Journal of Islamic Social Sciences (1991)
"Waging War, Waging Peace: The Poetics and Politics of Women and Words in Contemporary Arabia". Thesis (Ph.D. in Anthropology)- University of California, Berkeley, (May 1991)."Powerful Mothers, Powerless Daughters: Libyan Women and the Bitter Fruits of Change." Unpublished paper, Department of Anthropology, U.C. Berkeley (1984)
"The Changing Role and Status of Women in Libyan Society An Anthropological Perspective". Thesis (M.A. Anthropology) - California State University, Sacramento (1983). See also
Culture of Saudi Arabia
List of Libyans
List of Arab Americans
Fadwa El Guindi
Rajaa al-Sanea
Raja'a Alem
Girls of Riyadh
Gender roles in Islam
Islamic feminism
Women and Islam

Notes

References

  Pdf. Preview.Pdf. External links
Townsend Fellow 1989-1990
Centre for Global Energy Studies
Anthropology Department at UC Berkeley

Social anthropologists
American feminist writers
Libyan feminists
Libyan writers
Libyan Muslims
People from Tripoli
Libyan emigrants to the United States
University of California, Berkeley College of Letters and Science faculty
San Francisco State University faculty
Saint Mary's College of California
Year of birth missing
2007 deaths
Cultural anthropologists
American anthropologists
20th-century Libyan writers
20th-century Libyan women writers
21st-century Libyan women writers
American women anthropologists
American Muslims
Libyan anthropologists
Libyan women anthropologists
21st-century American women

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Saddeka Mohammed Arebi
Arebi


texts:
<mask> (;  – ) was a British political theorist, author, publisher, and civil servant. He was married to author <mask>. Early life

<mask> was born in London in 1880 the third of ten children of <mask> (known as <mask>), a barrister and Queen's Counsel, and Marie (née de Jongh). His family was Jewish. After his father died in 1892, Woolf was sent to board at Arlington House School near Brighton, Sussex. From 1894 to 1899, he attended St Paul's School, and in 1899 he won a classical scholarship to Trinity College, Cambridge, where he was elected to the Cambridge Apostles. Other contemporary members included Lytton Strachey, John Maynard Keynes, G. E. Moore, and E. M. Forster.Thoby Stephen (his future wife's brother) was friendly with the Apostles, though not a member himself. Woolf was awarded his BA in 1902, but stayed there for another year to study for the Civil Service examinations held then. In October 1904, Woolf moved to Ceylon (now Sri Lanka) to become a cadet in the Ceylon Civil Service, in Jaffna and later Kandy, and by August 1908 was named an assistant government agent in the Southern Province, where he administered the District of Hambantota. Woolf returned to England in May 1911 for a year's leave. Instead, however, he resigned in early 1912 and that same year married Virginia Stephen. <mask> and <mask> lived at 17 The Green Richmond starting from October 1914. In early March 1915, the couple moved to nearby Hogarth House, Paradise Road.In 1919, the Woolfs purchased the Round House in Pipe Passage, Lewes. The same year, they discovered Monk's House in nearby Rodmell, which both she and <mask> favoured because of its orchard and garden. She then bought Monk's House and sold the Round House. Together, <mask> and <mask> became influential in the Bloomsbury Group, which also included various other former Apostles. In December 1917, <mask> became one of the co-founders of the 1917 Club, which met in Gerrard Street, Soho. Writing
After marriage, Woolf turned to writing and published his first novel, The Village in the Jungle (1913), which is based on his years in Ceylon. A series of books followed at roughly bi-annual intervals.On the introduction of conscription in 1916, during the First World War, Woolf was rejected for military service on medical grounds, and turned to politics and sociology. He joined the Labour Party and the Fabian Society, and became a regular contributor to the New Statesman. In 1916, he wrote International Government, proposing an international agency to enforce world peace. As his wife's mental health worsened, Woolf devoted much of his time to caring for her (he himself suffered from depression). In 1917, the Woolfs bought a small hand-operated printing press and with it they founded the Hogarth Press. Their first project was a pamphlet, hand-printed and bound by themselves. Within ten years the Press had become a full-scale publishing house, issuing Virginia's novels, <mask>'s tracts and, among other works, the first edition of T. S. Eliot's The Waste Land.Woolf continued as the main director of the Press until his death. His wife suffered from severe bouts of mental illness throughout her life, until her suicide by drowning in 1941. Later, <mask> fell in love with a married artist, Trekkie Parsons. In 1919, Woolf became editor of the International Review. He also edited the international section of the Contemporary Review from 1920 to 1922. He was literary editor of The Nation and Athenaeum, generally referred to simply as The Nation, from 1923 to 1930), and joint founder and editor of The Political Quarterly from 1931 to 1959), and for a time he served as secretary of the Labour Party's advisory committees on international and colonial questions. In 1960, Woolf revisited Ceylon and was surprised at the warmth of the welcome he received, and even the fact that he was still remembered.Woolf accepted an honorary doctorate from the then-new University of Sussex in 1964 and in 1965 he was elected a Fellow of the Royal Society of Literature. He declined the offer of Companion of Honour (CH) in the Queen's Birthday Honours list in 1966. Family
Among his nine siblings, <mask> was also an author. His brother Cecil Nathan <mask> was the author of Poems (published 1918); Cecil was killed in World War I in 1917. His dissertation Bartolus of Sassoferrato, his Position in the History of Medieval Political Thought was expanded to a book published by Cambridge University Press in 1913 in collaboration with his brother Philip. Philip and Cecil also translated Stendhal's On Love (Duckworth, 1915). Death
Woolf died on 14 August 1969 from a stroke.He was cremated and his ashes were buried alongside his wife's beneath an elm tree in his beloved garden at Monk's House, Rodmell, Sussex. The tree subsequently blew down and Woolf's remains have since been marked by a bronze bust. His papers are held by the University of Sussex at the  Falmer campus. Works
 The Village in the Jungle – 1913
 The Wise Virgins – 1914 (Republished in 2003 by Persephone Books)
 International Government – 1916
 The Future of Constantinople – 1917
 The Framework of a Lasting Peace - 1917
 Cooperation and the Future of Industry – 1918
 Economic Imperialism – 1920
 Empire and Commerce in Africa – 1920
 Socialism and Co-operation – 1921
 International co-operative trade – 1922
 Fear and Politics – 1925
 Essays on Literature, History, Politics – 1927
 Hunting the Highbrow – 1927
 Imperialism and Civilization – 1928
 After the Deluge (Principia Politica), 3 vols. – 1931, 1939, 1953
 Quack! Quack! – 1935
 Barbarians at the Gate – 1939
 The War for Peace – 1940
 A Calendar of Consolation – selected by <mask>, 1967

Autobiographical works
  Published in America as  Also .Also  (1977),  (1967), Eland (2015). Also

  Published in America as

Biographical works on <mask>
De Silva, Prabhath: <mask> as a Judge in Ceylon: A British Civil Servant as a Judge in the Hambantota District of Colonial Sri Lanka (1908–1911). Neptune Publications (Pvt) Ltd, Battaramulla, Sri Lanka (2nd edition 2016). Edited excerpt of book available at
 Review of book with details about <mask> available at

Related works and cultural references
 In 1982, a film version in Sinhala of <mask>'s novel, Village in the Jungle, called Bæddegama was released. It featured Arthur C. Clarke in the role of Woolf. A film version of Michael Cunningham's 1998 Pulitzer Prize winning novel, The Hours, was released in 2002, starring Nicole Kidman as <mask>. The part of <mask> was played by Stephen Dillane.In 2005, a book titled Woolf in Ceylon was published by author Christopher Ondaatje. This is an unusual "in-the-footsteps of" book by the elder brother of novelist Michael Ondaatje. It is possibly that <mask>, Claudia's father in the video game Silent Hill 3 is named after Woolf. See also
Trekkie Parsons

References

External links

The <mask> fonds at the Victoria University Library at the University of Toronto consists of correspondence from Woolf to Ellen Alderm, 1935, and Mrs. Easdale, 1935, 1964–1968, primarily re submissions to Hogarth Press
 "Stories of the East by <mask>" via Discovering Literature at the British Library
 Frederic Spotts collection of papers on the letters of <mask> at the Mortimer Rare Book Collection, Smith College Special Collections

1880 births
1969 deaths
Bloomsbury Group
English Jews
English memoirists
Publishers (people) from London
Stephen-Bell family
British Jewish writers
People educated at St Paul's School, London
Alumni of Trinity College, Cambridge
Members of the Fabian Society
Jewish socialists
British civil servants in Ceylon
Sri Lankan Jews
Sri Lankan people of English descent
20th-century English novelists
Virginia Woolf
Jewish British politicians
Labour Party (UK) parliamentary candidates
20th-century English businesspeople

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