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<mask> (17 August 1916 – 23 February 1990) was one of the prominent Hindi writers of the twentieth century. He started off as an author and journalist, but moved on to be an active writer in the Indian film industry for 7 years. He worked as a drama producer in All India Radio between December 1953 and May 1956. At this point he realised that a regular job would always be a hindrance to his literary life, so he devoted himself to freelance writing. Often cited as the true literary heir of Premchand, <mask> created his own independent and unique identity as a littérateur and is counted as one of the most important and multi-faceted creative writers of Indian literature. In the words of famous critic, Dr. Ram Bilas Sharma,"Undoubtedly, <mask> will be remembered as an important novelist. For me, he is a very major sculptor of fiction.He has revealed the power of both standard [manak] Hindi, as well as the non-standard [ghair-manak] Hindi of the ordinary" (Sharma, <mask> <mask>chnavali, Vol 1, p. 47). <mask> <mask>'s real genius lay in the art of developing a range of characters in his stories and novels. Commenting on his distinctive ability to operationalise a story at many levels in complex and multi-dimensional ways, another prominent writer and critic of Hindi, Shreelal Shukla notes, "Rather than imposing his own personality on his character, <mask> ji dissolves himself in the character and in the process, he absorbs at the experiential level, all of those complexities that even the simplest characters nurture in the forms of anxieties and knotted puzzles. This work can only be done by a major creative writer" (Shukla, 10 Pratinidhi Kahaniyan: Amrilal <mask>, p. 10). Biography
<mask> was born on 17 August 1916 in Chaurahe Wali Gali, Gokulpura, in a Gujarati Nagar Brahmin Family in Agra, India. He died on 23 February 1990 in Chowk, Lucknow, India. His parents were Rajaram and Vidyawati <mask>.He first published a poem in the fortnightly Anand in December 1928. The poem was inspired by a protest against the Simon Commission in which <mask> was suffered injury during lathi charge. He married Pratibha (original name Savitri Devi alias Bitto) on 31 January 1932. They had four children (Late Kumud <mask>, Late Sharad <mask>, Dr. Achala <mask> and Smt. Aarti Pandya). Employment
Nagar worked as a dispatch clerk in the Lucknow office of All India United Insurance Company for 18 days. He provided voluntary services to the publication division of the Nawal Kishore Press and the editorial office of Madhuri in 1939.From December 1953 to May 1956 he worked as a drama producer in Akashvani (All India Radio), Lucknow, but resigned from this position so that he could focus all of his time and attention to his literary pursuits. Films
From 1940 to 1947, <mask> wrote screen plays and dialogues for the film industry in Bombay (now Mumbai), Kolhapur, and Chennai (Madras). He was one of the early pioneers specialising in cinematic dubbing that involved the art of translating films of one language into another. He dubbed Naseeruddin in Buhkara and Zoya from Russian and M.S. Subbulakshmi's Meera from Tamil into Hindi. Nahin! (1947)
 Paanchvaan Dasta (1948)
 Ek Dil Hazaar Dastaan (1955)
 Atom Bomb (1956)
 Peepal Ki Pari (1963)
 Kaaldand Ki Chori (1963)
 Meri Priya Kahaniyan (1970)
 Bharat Putra Naurangilal (1972)
 Sikandar Haar Gaya (1984)
 Ek Dil Hazaar Afsaane (A collection of almost all of <mask>'s stories, edited by Sharad <mask> Aur Samudra (1956)
 Shatranj ke Mohre (1959)
 Suhag ke Noopur (1960)
 Amrit Aur Vish (1966)
 Saat Ghunghat Wala Mukhda (1968)
 Ekda Naimishshaaranye (1972)
 Maanas Ka Hans (1973)
 Naachayo Bahut Gopal (1978)
 Khanjan Nayan (1981)
 Bikhre Tinke (1982)
 Agni Garbha (1983)
 Karwat (1985)
 Peedhiyaan (1990)

Memoirs, reports, biographies, and essays
 Ghadar Ke Phool (1957): An important historical source based on the oral lore of the Revolt of 1857 from the Awadh region.Ye Kothevaliyan (1960): An original and unique social survey of the issues of sex workers. Staged on 25 September 1954 in Lucknow
 Directed Skandgupt, 1949
 Directed Indian People's Theatre Association's production Eidgaah (theatrical adaption by Razia Sajjad Zaheer of Munshi Premchand's story), 1953. The Government of Uttar Pradesh filed a case against this production under the Drama Performance Act of 1876. In 1956 Justice Anandnarayan Mulla rejected the case on the grounds that it violated the right to expression granted by India's constitution and decided that the Drama Performance Act be declared null and void in independent India. Directed his own play Yugavtar, based on the life of Bhartendu Harishchandra, for Rangvani, Allahabad. Staged on 23 September 1955. Directed theatrical adaptation of Munshi Premchand's GODAN toassist with the construction of the building of Navyug Kanya Vidyalaya,Lucknow, 1956.Directed Chetsingh, written by Sarvadananda and produced by Natraj, Lucknow. Staged on 22–23 August 1956. Directed Rupiya Tumhe Kha Gaya written by Bhagwaticharan Varma andproduced by Bharti, Lucknow. Staged on 17 November 1958. Directed his own play Nukkad Par for Akashvani (All India Radio),Lucknow. Staged on 8 December 1963. Aao Bachchon Natak Likhen: A conversation about the art of creating plays.Published by Bal Natya Akademi, Lucknow. The foreword for this translation of 653 pages was written by Professor Chelishev. Boond Aur Samudra translated by the National Book Trust into Urdu,Punjabi, Marathi, Tamil, Bangla, Gujarati, Telugu, Asamese, Oriya, and Malayalam. Suhaag Ke Noopur translated into Marathi, Kannada, and Oriya. Amrit Aur Vish translated into Russian by Moscow's Hindi scholar,S. Trubnikova as "Naiktar E Yaad." This translation of 408 pages was published in Moscow in 1973.Amrit Aur Vish translated by the Sahitya Akademi into Bangla, Kannada, Malayalam, Punjabi, Telugu, and Urdu. Manas Ka Hans translated into Gujarati, Marathi, and Oriya. Nachyo Bahut Gopal translated into Oriya. Bhookh translated into English as HUNGER. Khanjan Nayan translated into Marathi. Agni Garbha translated into Marathi. Saat Ghoonghat Wala Mukhda translated into English as The Face Behind Seven Veils.Children's novel Bajrangi Pahalwan translated into Nepali as Bajrangi Pahalwaan Ka Anotha Kaamharu. Gadar Ke Phool translated into English as Gathering The Ashes by Mrinal Pande. It was published by published by Harper Collins in 2014. Many stories written by <mask> <mask> have been translated into Gujarati, Bangla, Marathi, Oriya, English, German, and Japanese. See also
 List of Indian writers

External links
 <mask> <mask> in Gadya Kosh

References

Recipients of the Sahitya Akademi Award in Hindi
Recipients of the Padma Bhushan in literature & education
Hindi-language writers
1916 births
People from Agra

1990 deaths
All India Radio people

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Sir <mask>, AC (27 August 1908 – 25 February 2001), nicknamed "<mask>", was an Australian international cricketer, widely acknowledged as the greatest batsman of all time. Bradman's career Test batting average of 99.94 has been cited as the greatest achievement by any sportsman in any major sport. The story that the young Bradman practised alone with a cricket stump and a golf ball is part of Australian folklore. <mask>'s meteoric rise from bush cricket to the Australian Test team took just over two years. Before his 22nd birthday, he had set many records for top scoring, some of which still stand, and became Australia's sporting idol at the height of the Great Depression. During a 20-year playing career, Bradman consistently scored at a level that made him, in the words of former Australia captain Bill Woodfull, "worth three batsmen to Australia". A controversial set of tactics, known as Bodyline, was specially devised by the England team to curb his scoring.As a captain and administrator, Bradman was committed to attacking, entertaining cricket; he drew spectators in record numbers. He hated the constant adulation, however, and it affected how he dealt with others. The focus of attention on his individual performances strained relationships with some teammates, administrators and journalists, who thought him aloof and wary. Following an enforced hiatus due to the Second World War, he made a dramatic comeback, captaining an Australian team known as "The Invincibles" on a record-breaking unbeaten tour of England. A complex, highly driven man, not given to close personal relationships,
Bradman retained a pre-eminent position in the game by acting as an administrator, selector and writer for three decades following his retirement. Even after he became reclusive in his declining years, his opinion was highly sought, and his status as a national icon was still recognised. Almost 50 years after his retirement as a Test player, in 1997, Prime Minister John Howard of Australia called him the "greatest living Australian".<mask>'s image has appeared on postage stamps and coins, and a museum dedicated to his life was opened while he was still living. On the centenary of his birth, 27 August 2008, the Royal Australian Mint issued a $5 commemorative gold coin with <mask>'s image. In 2009, he was inducted posthumously into the ICC Cricket Hall of Fame. Early years

<mask> <mask> was the youngest son of George and Emily (née Whatman) <mask>, and was born on 27 August 1908 at Cootamundra, New South Wales (NSW). He had a brother, Victor, and three sisters—Islet, Lilian and Elizabeth May. <mask> was of English heritage on both sides of his family. His grandfather Charles Andrew <mask> left Withersfield, Suffolk, for Australia.When Bradman played at Cambridge in 1930 as a 21 year old on his first tour of England, he took the opportunity to trace his forebears in the region. Also, one of his great-grandfathers was one of the first Italians to migrate to Australia in 1826. Bradman's parents lived in the hamlet of Yeo Yeo, near Stockinbingal. His mother, Emily, gave birth to him at the Cootamundra home of Granny Scholz, a midwife. That house is now the Bradman Birthplace Museum. Emily had hailed from Mittagong in the NSW Southern Highlands, and in 1911, when <mask>man was about two-and-a-half years old, his parents decided to relocate to Bowral, close to Mittagong, to be closer to Emily's family and friends, as life at Yeo Yeo was proving difficult. Bradman practised batting incessantly during his youth.He invented his own solo cricket game, using a cricket stump for a bat, and a golf ball. A water tank, mounted on a curved brick stand, stood on a paved area behind the family home. When hit into the curved brick facing of the stand, the ball rebounded at high speed and varying angles—and Bradman would attempt to hit it again. This form of practice developed his timing and reactions to a high degree. In more formal cricket, he hit his first century at the age of 12, with an undefeated 115 playing for Bowral Public School against Mittagong High School. Bush cricketer
During the 1920–21 season, Bradman acted as scorer for the local Bowral team, captained by his uncle George Whatman. In October 1920, he filled in when the team was one man short, scoring 37* and 29* on debut.During the season, <mask>'s father took him to the Sydney Cricket Ground (SCG) to watch the fifth Ashes Test match. On that day, Bradman formed an ambition. "I shall never be satisfied", he told his father, "until I play on this ground". Bradman left school in 1922 and went to work for a local real estate agent who encouraged his sporting pursuits by giving him time off when necessary. He gave up cricket in favour of tennis for two years, but resumed playing cricket in 1925–26. Bradman became a regular selection for the Bowral team; several outstanding performances earned him the attention of the Sydney daily press. Competing on matting-over-concrete pitches, Bowral played other rural towns in the Berrima District competition.Against Wingello, a team that included the future Test bowler Bill O'Reilly, Bradman made 234. In the competition final against Moss Vale, which extended over five consecutive Saturdays, Bradman scored 320 not out. During the following Australian winter (1926), an ageing Australian team lost The Ashes in England, and a number of Test players retired. The New South Wales Cricket Association began a hunt for new talent. Mindful of <mask>'s big scores for Bowral, the association wrote to him, requesting his attendance at a practice session in Sydney. He was subsequently chosen for the "Country Week" tournaments at both cricket and tennis, to be played during separate weeks. His boss presented him with an ultimatum: he could have only one week away from work, and therefore had to choose between the two sports.He chose cricket. <mask>'s performances during Country Week resulted in an invitation to play grade cricket in Sydney for St George in the 1926–27 season. He scored 110 on his debut, making his first century on a turf pitch. On 1 January 1927, he turned out for the NSW second team. For the remainder of the season, Bradman travelled the  from Bowral to Sydney every Saturday to play for St George. First-class debut
The next season continued the rapid rise of the "Boy from Bowral". Selected to replace the unfit Archie Jackson in the NSW team, <mask> made his first-class debut at the Adelaide Oval, aged 19.He secured the achievement of a hundred on debut, with an innings of 118 featuring what soon became his trademarks—fast footwork, calm confidence and rapid scoring. In the final match of the season, he made his first century at the SCG, against the Sheffield Shield champions Victoria. Despite his potential, <mask> was not chosen for the Australian second team to tour New Zealand. Bradman decided that his chances for Test selection would be improved by moving to Sydney for the 1928–29 season, when England were to tour in defence of the Ashes. Initially, he continued working in real estate, but later took a promotions job with the sporting goods retailer Mick Simmons Ltd. In the first match of the Sheffield Shield season, he scored a century in each innings against Queensland. He followed this with scores of 87 and 132 not out against the England touring team, and was rewarded with selection for the first Test, to be played at Brisbane.Test career

Playing in only his tenth first-class match, <mask>, nicknamed "Braddles" by his teammates, found his initial Test a harsh learning experience. Caught on a sticky wicket, Australia were all out for 66 in the second innings and lost by 675 runs (still a Test record). Following scores of 18 and 1, the selectors dropped <mask> to twelfth man for the Second Test. An injury to Bill Ponsford early in the match required Bradman to field as substitute while England amassed 636, following their 863 runs in the First Test. RS "Dick" Whitington wrote, "... he had scored only nineteen himself and these experiences appear to have provided him with food for thought". Recalled for the Third Test at the Melbourne Cricket Ground, Bradman scored 79 and 112 to become the youngest player to make a Test century, although the match was still lost. Another loss followed in the Fourth Test.<mask> reached 58 in the second innings and appeared set to guide the team to victory when he was run out. It was to be the only run out of his Test career. The losing margin was just 12 runs. The improving Australians did manage to win the Fifth and final Test. <mask> top-scored with 123 in the first innings, and was at the wicket in the second innings when his captain Jack Ryder hit the winning runs. Bradman completed the season with 1,690 first-class runs, averaging 93.88, and his first multiple century in a Sheffield Shield match, 340 not out against Victoria, set a new ground record for the SCG. Bradman averaged 113.28 in 1929–30.In a trial match to select the team that would tour England, he was last man out in the first innings for 124. As his team followed on, the skipper Bill Woodfull asked Bradman to keep the pads on and open the second innings. By the end of play, he was 205 not out, on his way to 225. Against Queensland at the SCG, Bradman set a then world record for first-class cricket by scoring 452 not out; he made his runs in only 415 minutes. Not long after the feat, he recalled:

Although he was an obvious selection to tour England, Bradman's unorthodox style raised doubts that he could succeed on the slower English pitches. Percy Fender wrote:

The encomiums were not confined to his batting gifts; nor did the criticism extend to his character. "Australia has unearthed a champion", said former Australian Test great Clem Hill, "self-taught, with natural ability.But most important of all, with his heart in the right place." Selector Dick Jones weighed in with the observation that it was "good to watch him talking to an old player, listening attentively to everything that is said and then replying with a modest 'thank you'." 1930 tour of England
England were favourites to win the 1930 Ashes series, and if the Australians were to exceed expectations, their young batsmen, <mask> and Jackson, needed to prosper. With his elegant batting technique, Jackson appeared the brighter prospect of the pair. However, Bradman began the tour with 236 at Worcester and went on to score 1,000 first-class runs by the end of May, the fifth player (and first Australian) to achieve this rare feat. In his first Test appearance in England, <mask> hit 131 in the second innings but England won the match. His batting reached a new level in the Second Test at Lord's where he scored 254 as Australia won and levelled the series.Later in life, <mask> rated this the best innings of his career as, "practically without exception every ball went where it was intended to go". Wisden noted his fast footwork and how he hit the ball "all round the wicket with power and accuracy", as well as faultless concentration in keeping the ball on the ground. In terms of runs scored, this performance was soon surpassed. In the Third Test, at Headingley, <mask> scored a century before lunch on 11 July, the first day of the Test match to equal the performances of Victor Trumper and Charlie Macartney. In the afternoon, <mask> added another century between lunch and tea, before finishing the day on 309 not out. He remains the only Test player to pass 300 in one day's play. His eventual score of 334 was a world-record, exceeding the previous mark of 325 by Andy Sandham.<mask> dominated the Australian innings; the second-highest tally was 77 by Alan Kippax. Businessman Arthur Whitelaw later presented Bradman with a cheque for £1,000 in appreciation of his achievement. The match ended in anti-climax as poor weather prevented a result, as it also did in the Fourth Test. In the deciding Test at The Oval, England made 405. During an innings stretching over three days due to intermittent rain, <mask> made yet another multiple century, this time 232, which helped give Australia a big lead of 290 runs. In a crucial partnership with Archie Jackson, Bradman battled through a difficult session when England fast bowler Harold Larwood bowled short on a pitch enlivened by the rain. Wisden gave this period of play only a passing mention:

A number of English players and commentators noted Bradman's discomfort in playing the short, rising delivery.The revelation came too late for this particular match, but was to have immense significance in the next Ashes series. Australia won the match by an innings and regained the Ashes. The victory made an impact in Australia. With the economy sliding toward depression and unemployment rapidly rising, the country found solace in sporting triumph. The story of a self-taught 22-year-old from the bush who set a series of records against the old rival made Bradman a national hero. The statistics Bradman achieved on the tour, especially in the Test matches, broke records for the day and some have stood the test of time. In all, Bradman scored 974 runs at an average of 139.14 during the Test series, with four centuries, including two double hundreds and a triple.As of 2018, no-one has matched or exceeded 974 runs or three double centuries in one Test series; the record of 974 runs exceeds the second-best performance by 69 runs and was achieved in two fewer innings. Bradman's first-class tally, 2,960 runs (at an average of 98.66 with 10 centuries), was another enduring record: the most by any overseas batsman on a tour of England. On the tour, the dynamic nature of Bradman's batting contrasted sharply with his quiet, solitary off-field demeanour. He was described as aloof from his teammates and he did not offer to buy them a round of drinks, let alone share the money given to him by Whitelaw. Bradman spent a lot of his free time alone, writing, as he had sold the rights to a book. On his return to Australia, Bradman was surprised by the intensity of his reception; he became a "reluctant hero". Mick Simmons wanted to cash in on their employee's newly won fame.They asked Bradman to leave his teammates and attend official receptions they organised in Adelaide, Melbourne, Goulburn, his hometown Bowral and Sydney, where he received a brand new custom-built Chevrolet. At each stop, Bradman received a level of adulation that "embarrassed" him. This focus on individual accomplishment, in a team game, "... permanently damaged relationships with his contemporaries". Commenting on Australia's victory, the team's vice-captain Vic Richardson said, "... we could have played any team without Bradman, but we could not have played the blind school without Clarrie Grimmett". A modest Bradman can be heard in a 1930 recording saying "I have always endeavoured to do my best for the side, and the few centuries that have come my way have been achieved in the hope of winning matches. My one idea when going into bat was to make runs for Australia." Reluctant hero
 In 1930–31, against the first West Indian side to visit Australia, Bradman's scoring was more sedate than in England—although he did make 223 in 297 minutes in the Third Test at Brisbane and 152 in 154 minutes in the following Test at Melbourne.However, he scored quickly in a very successful sequence of innings against the South Africans in the Australian summer of 1931–32. For NSW against the tourists, he made 30, 135 and 219. In the Test matches, he scored , , 2 and ; his 299 not out in the Fourth Test, at Adelaide, set a new record for the highest score in a Test in Australia. Australia won nine of the ten Tests played over the two series. At this point, Bradman had played 15 Test matches since the beginning of 1930, scoring 2,227 runs at an average of 131. He had played 18 innings, scoring 10 centuries, six of which

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 had extended beyond 200. His overall scoring rate was 42 runs per hour, with 856 (or 38.5% of his tally) scored in boundaries.Significantly, he had not hit a six, which typified Bradman's attitude: if he hit the ball along the ground, then it could not be caught. During this phase of his career, his youth and natural fitness allowed him to adopt a "machine-like" approach to batting. The South African fast bowler Sandy Bell described bowling to him as, "heart-breaking ... with his sort of cynical grin, which rather reminds one of the Sphinx ... he never seems to perspire". Between these two seasons, Bradman seriously contemplated playing professional cricket in England with the Lancashire League club Accrington, a move that, according to the rules of the day, would have ended his Test career. A consortium of three Sydney businesses offered an alternative. They devised a two-year contract whereby Bradman wrote for Associated Newspapers, broadcast on Radio 2UE and promoted the menswear retailing chain FJ Palmer and Son. However, the contract increased Bradman's dependence on his public profile, making it more difficult to maintain the privacy that he ardently desired.<mask>'s chaotic wedding to Jessie Menzies in April 1932 epitomised these new and unwelcome intrusions into his private life. The church "was under siege all throughout the day ... uninvited guests stood on chairs and pews to get a better view"; police erected barriers that were broken down and many of those invited could not get a seat. Just weeks later, Bradman joined a private team organised by Arthur Mailey to tour the United States and Canada. He travelled with his wife, and the couple treated the trip as a honeymoon. Playing 51 games in 75 days, Bradman scored 3,779 runs at 102.1, with 18 centuries. Although the standard of play was not high, the effects of the amount of cricket Bradman had played in the three previous years, together with the strains of his celebrity status, began to show on his return home. Bodyline

Within the Marylebone Cricket Club (MCC), which administered English cricket at the time, few voices were more influential than "Plum" Warner's, who, when considering England's response to Bradman, wrote that it "must evolve a new type of bowler and develop fresh ideas and strange tactics to curb his almost uncanny skill".To that end, Warner orchestrated the appointment of Douglas Jardine as England captain in 1931, as a prelude to Jardine leading the 1932–33 tour to Australia, with Warner as team manager. Remembering that Bradman had struggled against bouncers during his 232 at The Oval in 1930, Jardine decided to combine traditional leg theory with short-pitched bowling to combat Bradman. He settled on the Nottinghamshire fast bowlers Harold Larwood and Bill Voce as the spearheads for his tactics. In support, the England selectors chose another three pacemen for the squad. The unusually high number of fast bowlers caused a lot of comment in both countries and roused Bradman's own suspicions. Bradman had other problems to deal with at this time; among these were bouts of illness from an undiagnosed malaise which had begun during the tour of North America, and that the Australian Board of Control had initially refused permission for him to write a column for the Sydney Sun. <mask>, who had signed a two-year contract with the newspaper, threatened to withdraw from cricket to honour his contract when the board denied him permission to write; eventually, the paper released Bradman from the contract, in a victory for the board.In three first-class games against England before the Tests, Bradman averaged just 17.16 in 6 innings. Jardine decided to give the new tactics a trial in only one game, a fixture against an Australian XI at Melbourne. In this match, Bradman faced the leg theory and later warned local administrators that trouble was brewing if it continued. He withdrew from the First Test at the Sydney Cricket Ground amid rumours that he had suffered a nervous breakdown. Despite his absence, England employed what were already becoming known as the Bodyline tactics against the Australian batsmen and won an ill-tempered match. The public clamoured for the return of Bradman to defeat Bodyline: "he was the batsman who could conquer this cankerous bowling ... '<mask>a', amounting almost to religious fervour, demanded his return". Recovered from his indisposition, Bradman returned to the side in Alan Kippax's position.A world record crowd of 63,993 at the MCG saw <mask> come to the crease on the first day of the Second Test with the score at 2/67. A standing ovation ensued that delayed play for several minutes. Bradman anticipated receiving a bouncer as his first ball and, as the bowler delivered, he moved across his stumps to play the hook shot. The ball failed to rise and Bradman dragged it onto his stumps; the first-ball duck was his first in a Test. The crowd fell into stunned silence as he walked off. However, Australia took a first innings lead in the match, and another record crowd on 2 January 1933 watched <mask> hit a counter-attacking second innings century. His unbeaten 103 (from 146 balls) in a team total of 191 helped set England a target of 251 to win.Bill O'Reilly and Bert Ironmonger bowled Australia to a series-levelling victory amid hopes that Bodyline was beaten. The Third Test at the Adelaide Oval proved pivotal. There were angry crowd scenes after the Australian captain Bill Woodfull and wicket-keeper Bert Oldfield were hit by bouncers. An apologetic Plum Warner entered the Australian dressing room and was rebuked by Woodfull. Woodfull's remarks (that "...there are two teams out there and only one of them is playing cricket") were leaked to the press, and Warner and others attributed this to Australian opening batsman Jack Fingleton, however for many years (even after Fingleton's death) a bitter war of accusation passed between Fingleton and <mask> as to who was the real source of the leak. In a cable to the MCC, the Australian Board of Control repeated the allegation of poor sportsmanship directed at Warner by Woodfull. With the support of the MCC, England continued with Bodyline despite Australian protests.The tourists won the last three Tests convincingly and regained the Ashes. Bradman caused controversy with his own tactics. Always seeking to score, and with the leg side packed with fielders, he often backed away and hit the ball into the vacant half of the outfield with unorthodox shots reminiscent of tennis or golf. This brought him 396 runs (at 56.57) for the series and plaudits for attempting to find a solution to Bodyline, although his series average was just 57% of his career mean. Jack Fingleton was in no doubt that Bradman's game altered irrevocably as a consequence of Bodyline, writing:

The constant glare of celebrity and the tribulations of the season forced Bradman to reappraise his life outside the game and to seek a career away from his cricketing fame. Harry Hodgetts, a South Australian delegate to the Board of Control, offered Bradman work as a stockbroker if he would relocate to Adelaide and captain South Australia (SA). Unknown to the public, the SA Cricket Association (SACA) instigated Hodgetts' approach and subsidised Bradman's wage.Although his wife was hesitant about moving, Bradman eventually agreed to the deal in February 1934. Declining health and a brush with death
In his farewell season for NSW, Bradman averaged 132.44, his best yet. He was appointed vice-captain for the 1934 tour of England. However, "he was unwell for much of the [English] summer, and reports in newspapers hinted that he was suffering from heart trouble". Although he again started with a double century at Worcester, his famed concentration soon deserted him. Wisden wrote:

At one stage, Bradman went 13 first-class innings without a century, the longest such spell of his career, prompting suggestions that Bodyline had eroded his confidence and altered his technique. After three Tests, the series was one–one and Bradman had scored 133 runs in five innings.The Australians travelled to Sheffield and played a warm up game before the Fourth Test. Bradman started slowly and then, "... the old Bradman [was] back with us, in the twinkling of an eye, almost". He went on to make 140, with the last 90 runs coming in just 45 minutes. On the opening day of the Fourth Test at Headingley (Leeds), England were out for 200, but Australia slumped to 3/39, losing the third wicket from the last ball of the day. Listed to bat at number five, Bradman would start his innings the next day. That evening, Bradman declined an invitation to dinner from Neville Cardus, telling the journalist that he wanted an early night because the team needed him to make a double century the next day. Cardus pointed out that his previous innings on the ground was 334, and the law of averages was against another such score.<mask> told Cardus, "I don't believe in the law of averages". In the event, Bradman batted all of the second day and into the third, putting on a then world record partnership of 388 with Bill Ponsford. When he was finally out for 304 (473 balls, 43 fours and 2 sixes), Australia had a lead of 350 runs, but rain prevented them from forcing a victory. The effort of the lengthy innings stretched <mask>'s reserves of energy, and he did not play again until the Fifth Test at The Oval, the match that would decide the Ashes. In the first innings at The Oval, <mask> and Ponsford recorded an even more massive partnership, this time 451 runs. It had taken them less than a month to break the record they had set at Headingley; this new world record was to last 57 years. <mask>'s share of the stand was 244 from 271 balls, and the Australian total of 701 set up victory by 562 runs.For the fourth time in five series, the Ashes changed hands. England would not recover them again until after <mask>'s retirement. Seemingly restored to full health, Bradman blazed two centuries in the last two games of the tour. However, when he returned to London to prepare for the trip home, he experienced severe abdominal pain. It took a doctor more than 24 hours to diagnose acute appendicitis and a surgeon operated immediately. Bradman lost a lot of blood during the four-hour procedure and peritonitis set in. Penicillin and sulphonamides were still experimental treatments at this time; peritonitis was usually a fatal condition.On 25 September, the hospital issued a statement that Bradman was struggling for his life and that blood donors were needed urgently. "The effect of the announcement was little short of spectacular". The hospital could not deal with the number of donors, and closed its switchboard in the face of the avalanche of telephone calls generated by the news. Journalists were asked by their editors to prepare obituaries. Teammate Bill O'Reilly took a call from King George V's secretary asking that the King be kept informed of the situation. Jessie Bradman started the month-long journey to London as soon as she received the news. En route, she heard a rumour that her husband had died.A telephone call clarified the situation and by the time she reached London, Bradman had begun a slow recovery. He followed medical advice to convalesce, taking several months to return to Australia and missing the 1934–35 Australian season. Internal politics and the Test captaincy

There was off-field intrigue in Australian cricket during the antipodean winter of 1935. Australia, scheduled to make a tour of South Africa at the end of the year, needed to replace the retired Bill Woodfull as captain. The Board of Control wanted <mask> to lead the team, yet, on 8 August, the board announced <mask>'s withdrawal from the team due to a lack of fitness. Surprisingly, in the light of this announcement, Bradman led the South Australian team in a full programme of matches that season. The captaincy was given to Vic Richardson, Bradman's predecessor as South Australian captain.Cricket author Chris Harte's analysis of the situation is that a prior (unspecified) commercial agreement forced Bradman to remain in Australia. Harte attributed an ulterior motive to his relocation: the off-field behaviour of Richardson and other South Australian players had displeased the South Australia Cricket Association (SACA), which was looking for new leadership. To help improve discipline, Bradman became a committeeman of the SACA, and a selector of the South Australian and Australian teams. He took his adopted state to its first Sheffield Shield title for 10 years, Bradman weighing in with personal contributions of 233 against Queensland and 357 against Victoria. He finished the season with 369 (in 233 minutes), a South Australian record, made against Tasmania. The bowler who dismissed him, Reginald Townley, would later become leader of the Tasmanian Liberal Party. Australia defeated South Africa 4–0 and senior players such as Bill O'Reilly were pointed in their comments about the enjoyment of playing under Richardson's captaincy.A group of players who were openly hostile toward Bradman formed during the tour. For some, the prospect of playing under Bradman was daunting, as was the knowledge that he would additionally be sitting in judgement of their abilities in his role as a selector. To start the new season, the Test side played a "Rest of Australia" team, captained by Bradman, at Sydney in early October 1936. The Test XI suffered a big defeat, due to <mask>'s 212 and a haul of 12 wickets taken by leg-spinner Frank Ward. Bradman let the members of the Test team know that despite their recent success, the team still required improvement. Shortly afterwards, <mask>'s first child was born on 28 October, but died the next day. He took time out of cricket for two weeks and on his return made 192 in three hours against Victoria in the last match before the beginning of the Ashes series.The Test selectors made five changes to the team who had played in the previous Test match. Significantly, Australia's most successful bowler Clarrie Grimmett was replaced by Ward, one of four players making their debut. <mask>'s role in Grimmett's omission from the team was controversial and it became a theme that dogged <mask> as Grimmett continued to be prolific in domestic cricket while his successors were ineffective—he was regarded as having finished the veteran bowler's Test career in a political purge. Australia fell to successive defeats in the opening two Tests, <mask> making two ducks in his four innings, and it seemed that the captaincy was affecting his form. The selectors made another four changes to the team for the Third Test at Melbourne. <mask> won the toss on New Year's Day 1937, but again failed with the bat, scoring just 13. The Australians could not take advantage of a pitch that favoured batting, and finished the day at 6/181.On the second day, rain dramatically altered the course of the game. With the sun drying the pitch (in those days, covers could not be used during matches) Bradman declared to get England in to bat while the pitch was "sticky"; England also declared to get Australia back in, conceding a lead of 124. Bradman countered by reversing his batting order to protect his run-makers while conditions improved. The ploy worked and Bradman went in at number seven. In an innings spread over three days, he battled influenza while scoring 270 off 375 balls, sharing a record partnership of 346 with Jack Fingleton, and Australia went on to victory. In 2001, Wisden rated this performance as the best Test match innings of all time. The next Test, at the Adelaide Oval, was fairly even until Bradman played another patient second innings, making 212 from 395 balls.Australia levelled the series when the erratic left-arm spinner "Chuck" Fleetwood-Smith bowled Australia to victory. In the

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 series-deciding Fifth Test, <mask> returned to a more aggressive style in top-scoring with 169 (off 191 balls) in Australia's 604 and Australia won by an innings. Australia's achievement of winning a Test series after outright losses in the first two matches has never been repeated in Test cricket. End of an era
During the 1938 tour of England, Bradman played the most consistent cricket of his career. He needed to score heavily as England had a strengthened batting line-up, while the Australian bowling was over-reliant on O'Reilly. Grimmett was overlooked, but Jack Fingleton made the team, so the clique of anti-Bradman players remained. Playing 26 innings on tour, Bradman recorded 13 centuries (a new Australian record) and again made 1,000 first-class runs before the end of May, becoming the only player to do so twice.In scoring 2,429 runs, Bradman achieved the highest average ever recorded in an English season: 115.66. In the First Test, England amassed a big first innings score and looked likely to win, but Stan McCabe made 232 for Australia, a performance <mask> rated as the best he had ever seen. With Australia forced to follow-on, Bradman fought hard to ensure McCabe's effort was not in vain, and he secured the draw with 144 not out. It was the slowest Test hundred of his career and he played a similar innings of 102 not out in the next Test as Australia struggled to another draw. Rain completely washed out the Third Test at Old Trafford. Australia's opportunity came at Headingley, a Test described by Bradman as the best he ever played in. England batted first and made 223.During the Australian innings, <mask> backed himself by opting to bat on in poor light conditions, reasoning that Australia could score more runs in bad light on a good pitch than on a rain affected pitch in good light, when he had the option to go off. He scored 103 out of a total of 242 and the gamble paid off, as it meant there was sufficient time to push for victory when an England collapse left them a target of only 107 to win. Australia slumped to 4/61, with <mask> out for 16. An approaching storm threatened to wash the game out, but the poor weather held off and Australia managed to secure the win, a victory that retained the Ashes. For the only time in his life, the tension of the occasion got to Bradman and he could not watch the closing stages of play, a reflection of the pressure that he felt all tour: he described the captaincy as "exhausting" and said he "found it difficult to keep going". The euphoria of securing the Ashes preceded Australia's heaviest defeat. At The Oval, England amassed a world record of 7/903 and their opening batsman Len Hutton scored an individual world record, by making 364.In an attempt to relieve the burden on his bowlers, Bradman took a rare turn at bowling. During his third over, he fractured his ankle and teammates carried him from the ground. With Bradman injured and Fingleton unable to bat because of a leg muscle strain, Australia were thrashed by an innings and 579 runs, which remains the largest margin in Test cricket history. Unfit to complete the tour, Bradman left the team in the hands of vice-captain Stan McCabe. At this point, Bradman felt that the burden of captaincy would prevent him from touring England again, although he did not make his doubts public. Despite the pressure of captaincy, Bradman's batting form remained supreme. An experienced, mature player now commonly called "<mask>" had replaced the blitzing style of his early days as the "Boy from Bowral".In 1938–39, he led South Australia to the Sheffield Shield and made a century in six consecutive innings to equal CB Fry's world record. Bradman totalled 21 first-class centuries in 34 innings, from the beginning of the 1938 tour of England (including preliminary games in Australia) until early 1939. The next season, Bradman made an abortive bid to join the Victoria state side. The Melbourne Cricket Club advertised the position of club secretary and he was led to believe that if he applied, he would get the job. The position, which had been held by Hugh Trumble until his death in August 1938, was one of the most prestigious jobs in Australian cricket. The annual salary of £1,000 would make Bradman financially secure while allowing him to retain a connection with the game. On 18 January 1939, the club's committee, on the casting vote of the chairman, chose former Test batsman Vernon Ransford over <mask>.The 1939–40 season was <mask>'s most productive ever for SA: 1,448 runs at an average of 144.8. He made three double centuries, including 251 not out against NSW, the innings that he rated the best he ever played in the Sheffield Shield, as he tamed Bill O'Reilly at the height of his form. However, it was the end of an era. The outbreak of World War II led to the indefinite postponement of all cricket tours, and the suspension of the Sheffield Shield competition. Troubled war years

<mask> joined the Royal Australian Air Force (RAAF) on 28 June 1940 and was passed fit for air crew duty. The RAAF had more recruits than it could equip and train and Bradman spent four months in Adelaide before the Governor-General of Australia, Lord Gowrie, persuaded Bradman to transfer to the army, a move that was criticised as a safer option for him. Given the rank of lieutenant, he was posted to the Army School of Physical Training at Frankston, Victoria, to act as a divisional supervisor of physical training.The exertion of the job aggravated his chronic muscular problems, diagnosed as fibrositis. Surprisingly, in light of his batting prowess, a routine army test revealed that Bradman had poor eyesight. Invalided out of service in June 1941, Bradman spent months recuperating, unable even to shave himself or comb his hair due to the extent of the muscular pain he suffered. He resumed stockbroking during 1942. In his biography of Bradman, Charles Williams expounded the theory that the physical problems were psychosomatic, induced by stress and possibly depression; Bradman read the book's manuscript and did not disagree. Had any cricket been played at this time, he would not have been available. Although he found some relief in 1945 when referred to the Melbourne masseur Ern Saunders, Bradman permanently lost the feeling in the thumb and index finger of his (dominant) right hand.In June 1945, <mask> faced a financial crisis when the firm of Harry Hodgetts collapsed due to fraud and embezzlement. Bradman moved quickly to set up his own business, utilising Hodgetts' client list and his old office in Grenfell Street, Adelaide. The fallout led to a prison term for Hodgetts, and left a stigma attached to Bradman's name in the city's business community for many years. However, the SA Cricket Association had no hesitation in appointing Bradman as their delegate to the Board of Control in place of Hodgetts. Now working alongside some of the men he had battled in the 1930s, Bradman quickly became a leading light in the administration of the game. With the resumption of international cricket, he was once more appointed a Test selector, and played a major role in planning for post-war cricket. "The ghost of a once great cricketer"

In 1945–46, Bradman suffered regular bouts of fibrositis while coming to terms with increased administrative duties and the establishment of his business.He played for South Australia in two matches to help with the re-establishment of first-class cricket and later described his batting as "painstaking". Batting against the Australian Services cricket team, Bradman scored 112 in less than two hours, yet Dick Whitington (playing for the Services) wrote, "I have seen today the ghost of a once great cricketer". Bradman declined a tour of New Zealand and spent the winter of 1946 wondering whether he had played his last match. "With the English team due to arrive for the 1946–47 Ashes series, the media and the public were anxious to know if Bradman would lead Australia." His doctor recommended against a return to the game. Encouraged by his wife, Bradman agreed to play in lead-up fixtures to the Test series. After hitting two centuries, Bradman made himself available for the First Test at The Gabba.Controversy emerged on the first day of the First Test at Brisbane. After compiling an uneasy 28 runs, Bradman hit a ball to the gully fieldsman, Jack Ikin. "An appeal for a catch was denied in the umpire's contentious ruling that it was a bump ball". At the end of the over, England captain Wally Hammond spoke with Bradman and criticised him for not "walking"; "from then on the series was a cricketing war just when most people desired peace", Whitington wrote. <mask> regained his finest pre-war form in making 187, followed by 234 during the Second Test at Sydney (Sid Barnes also scored 234 during the innings, many in a still standing record 405 run 5th Wicket partnership with <mask>. Barnes later recalled that he purposely got out on 234 because "it wouldn't be right for someone to make more runs than Bradman"). Australia won both matches by an innings.Jack Fingleton speculated that had the decision at Brisbane gone against him, Bradman would have retired, such were his fitness problems. In the remainder of the series, Bradman made three half-centuries in six innings, but was unable to make another century; nevertheless, his team won handsomely, 3–0. He was the leading batsman on either side, with an average of 97.14. Nearly 850,000 spectators watched the Tests, which helped lift public spirits after the war. Century of centuries and "The Invincibles"

India made its first tour of Australia in the 1947–48 season. On 15 November, Bradman made 172 against them for an Australian XI at Sydney, his 100th first-class century. The first non-Englishman to achieve the milestone, Bradman remains the only Australian to have done so.In five Tests, he scored 715 runs (at 178.75 average). His last double century (201) came at Adelaide, and he scored a century in each innings of the Melbourne Test. On the eve of the Fifth Test, he announced that the match would be his last in Australia, although he would tour England as a farewell. Australia had assembled one of the great teams of cricket history. Bradman made it known that he wanted to go through the tour unbeaten, a feat never before accomplished. English spectators were drawn to the matches knowing that it would be their last opportunity to see Bradman in action. RC Robertson-Glasgow observed of Bradman that:

Despite his waning powers, Bradman compiled 11 centuries on the tour, amassing 2,428 runs (average 89.92).His highest score of the tour (187) came against Essex, when Australia compiled a world record of 721 runs in a day. In the Tests, he scored a century at Trent Bridge, but the performance most like his pre-war exploits came in the Fourth Test at Headingley. England declared on the last morning of the game, setting Australia a world record 404 runs to win in only 345 minutes on a heavily worn pitch. In partnership with Arthur Morris (182), Bradman reeled off 173 not out and the match was won with 15 minutes to spare. The journalist Ray Robinson called the victory "the 'finest ever' in its conquest of seemingly insuperable odds". In the final Test at The Oval, Bradman walked out to bat in Australia's first innings. He received a standing ovation from the crowd and three cheers from the opposition.His Test batting average stood at 101.39. Facing the wrist-spin of Eric Hollies, Bradman pushed forward to the second ball that he faced, was deceived by a googly, and bowled between bat and pad for a duck. An England batting collapse resulted in an innings defeat, denying Bradman the opportunity to bat again and so his career average finished at 99.94; if he had scored just four runs in his last innings, it would have been 100. A story developed over the years that claimed Bradman missed the ball because of tears in his eyes, a claim Bradman denied for the rest of his life. The Australian team won the Ashes 4–0, completed the tour unbeaten, and entered history as "The Invincibles". Just as Bradman's legend grew, rather than diminished, over the years, so too has the reputation of the 1948 team. For Bradman, it was the most personally fulfilling period of his playing days, as the divisiveness of the 1930s had passed.He wrote:

With Bradman now retired from professional cricket, RC Robertson-Glasgow wrote of the English reaction "... a miracle has been removed from among us. So must ancient Italy have felt when she heard of the death of Hannibal". Statistical summary

Test match performance

First-class performance

Test records

Bradman still holds the following significant records for Test match cricket:

Batting average
 Highest career batting average (minimum 20 innings): 99.94
 Highest series batting average (minimum 4-Test series): 201.50 (1931–32); also second-highest: 178.75 (1947–48)

Conversion rate

Highest percentage of centuries per innings played: 36.25% (29 centuries from 80 innings)
Highest percentage of double centuries per innings played: 15% (12 double centuries from 80 innings)
Highest 50/100 conversion rate (minimum 2000 runs): 69.05% (29 centuries converted from 42 innings of ≥ 50 runs)
Highest 100/200 conversion rate (minimum 2000 runs): 41.38%  (12 double centuries converted from 29 innings of ≥ 100 runs)

Multiples of 100 runs

Most double centuries: 12
 Most double centuries in a series: 3 (1930); also 2 (1931–32, 1934, 1936–37)
 Most triple centuries: 2 (equal with Chris Gayle, Brian Lara and Virender Sehwag) Note: Bradman was stranded on 299* in the 4th Test against South Africa in 1932. Scoring rate

Most centuries accumulated within single sessions of play: 6 (1 pre lunch, 2 lunch-tea, 3 tea-stumps)
 Most runs in one day's play: 309 (1930)

Fastest to multiples of 1000 runs

 Fewest matches required to reach 1000 (7 matches), 2000 (15 matches), 3000 (23 matches), 4000 (31 matches), 5000 (36 matches) and 6000 (45 matches) Test runs. Fewest innings required to reach 2000 (22 innings), 3000 (33 innings), 4000 (48 innings), 5000 (56 innings) and 6000 (68 innings) Test runs. Other

Highest peak Test batting rating: 961
Highest percentage of team runs over career: 24.28%

Highest 5th wicket partnership: 405 (with Sid Barnes, 1946–47)

Highest score by a number 7 batsman: 270 (1936–37)

Most runs against one opponent: 5,028 (England)
Most hundreds against one opponent: 19 (England)

Most runs in one series: 974 (1930)

 Most consecutive matches in which he made a century: 6 (the last three Tests in 1936–37, and the first three Tests in 1938)

Cricket context

Bradman's Test batting average of 99.94 has become one of cricket's most famous, iconic statistics. No other player who has played more than 20 Test match innings has finished their career with a Test average of more than 62.<mask> scored centuries at a rate better than one every three innings—in 80 Test innings, Bradman scored 29 centuries. Only 11 players have since surpassed his total, all at a much slower rate: the next fastest player to reach 29 centuries, Sachin Tendulkar, required nearly twice as long (148 innings) to do so. In addition, <mask>'s total of 12 Test double hundreds—comprising 15% of his innings—remains the most achieved by any Test batsman and was accumulated faster than any other total. For comparison, the next highest totals of Test double hundreds are Kumar Sangakkara's 11 in 223 innings (4.9%), Brian Lara's 9 in 232 innings (3.9%), and Wally Hammond's 7 in 140 innings (5%); the next highest rate of scoring Test double centuries was achieved by Vinod Kambli, whose 21 innings included 2 double centuries (9.5%). World sport context
Wisden hailed Bradman as, "the greatest phenomenon in the history of cricket, indeed in the history of all ball games". Statistician Charles Davis analysed the

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 statistics for several prominent sportsmen by comparing the number of standard deviations that they stand above the mean for their sport. The top performers in his selected sports are:

The statistics show that "no other athlete dominates an international sport to the extent that Bradman does cricket".In order to post a similarly dominant career statistic as Bradman, a baseball batter would need a career batting average of .392, while a basketball player would need to score an average of 43.0 points per game over their career. The respective records are .366 and 30.1. When Bradman died, Time allocated a space in its "Milestones" column for an obituary:

Playing style

Bradman's early development was shaped by the high bounce of the ball on matting-over-concrete pitches. He favoured "horizontal-bat" shots (such as the hook, pull and cut) to deal with the bounce and devised a unique grip on the bat handle that would accommodate these strokes without compromising his ability to defend. Employing a side-on stance at the wicket, Bradman kept perfectly still as the bowler ran in. His backswing had a "crooked" look that troubled his early critics, but he resisted entreaties to change. His backswing kept his hands in close to the body, leaving him perfectly balanced and able to change his stroke mid-swing, if need be.Another telling factor was the decisiveness of <mask>'s footwork. He "used the crease" by either coming metres down the pitch to drive, or playing so far back that his feet ended up level with the stumps when playing the cut, hook or pull. <mask>'s game evolved with experience. He temporarily adapted his technique during the Bodyline series, deliberately moving around the crease in an attempt to score from the short-pitched deliveries. At his peak, in the mid-1930s, he had the ability to switch between a defensive and attacking approach as the occasion demanded. After the Second World War, he adjusted to bat within the limitations set by his age, becoming a steady "accumulator" of runs. However, Bradman never truly mastered batting on sticky wickets.Wisden commented, "[i]f there really is a blemish on his amazing record it is ... the absence of a significant innings on one of those 'sticky dogs' of old". After cricket
After his return to Australia, Bradman played in his own Testimonial match at Melbourne, scoring his 117th and last century, and receiving £9,342 in proceeds. In the 1949 New Year Honours, he was appointed Knight Bachelor for his services to the game, becoming the only Australian cricketer ever to be knighted. He commented that he "would have preferred to remain just Mister". The following year he published a memoir, Farewell to Cricket. Bradman accepted offers from the Daily Mail to travel with, and write about, the 1953 and 1956 Australian teams in England. The Art of Cricket, his final book published in 1958, is an instructional manual.<mask> retired from his stockbroking business in June 1954, depending on the "comfortable" income earned as a board member of 16 publicly listed companies. His highest profile affiliation was with Argo Investments Limited, where he was chairman for a number of years. Charles Williams commented that, "[b]usiness was excluded on medical grounds, [so] the only sensible alternative was a career in the administration of the game which he loved and to which he had given most of his active life". Bradman was honoured at a number of cricket grounds, notably when his portrait was hung in the Long Room at Lord's; until Shane Warne's portrait was added in 2005, Bradman was one of just three Australians to be honoured in this way. Bradman inaugurated a "Bradman Stand" at the Sydney Cricket Ground in January 1974; the Adelaide Oval also opened a Bradman Stand in 1990, which housed new media and corporate facilities. The Oval's Bradman Stand was demolished in 2013 as the stadium underwent an extensive re-development. Later in 1974, he attended a Lord's Taverners function in London where he experienced heart problems, which forced him to limit his public appearances to select occasions only.With his wife, Bradman returned to Bowral in 1976, where the new cricket ground was named in his honour. He gave the keynote speech at the historic Centenary Test at Melbourne in 1977. On 16 June 1979, the Australian government awarded Bradman the nation's second-highest civilian honour at that time, Companion of the Order of Australia (AC), "in recognition of service to the sport of cricket and cricket administration". In 1980, he resigned from the ACB, to lead a more secluded life. Administrative career

In addition to acting as one of South Australia's delegates to the Board of Control from 1945 to 1980, <mask> was a committee member of the SACA between 1935 and 1986. It is estimated that he attended 1,713 SACA meetings during this half century of service. Aside from two years in the early 1950s, he filled a selector's berth for the Test team between 1936 and 1971.Cricket saw an increase in defensive play during the 1950s. As a selector, Bradman favoured attacking, positive cricketers who entertained the paying public. He formed an alliance with Australian captain Richie Benaud, seeking more attractive play, with some success. He served two high-profile periods as chairman of the board of Control, in 1960–63 and 1969–72. During the first, he dealt with the growing prevalence of illegal bowling actions in the game, a problem that he adjudged "the most complex I have known in cricket, because it is not a matter of fact but of opinion". The major controversy of his second stint was a proposed tour of Australia by South Africa in 1971–72. On Bradman's recommendation, the series was cancelled.Cricket journalist Michael Coward said of Bradman as an administrator:

In the late 1970s, Bradman played an important role during the World Series Cricket schism as a member of a special Australian Cricket Board committee formed to handle the crisis. He was criticised for not airing an opinion, but he dealt with World Series Cricket far more pragmatically than other administrators. Richie Benaud described Bradman as "a brilliant administrator and businessman", warning that he was not to be underestimated. As Australian captain, Ian Chappell fought with Bradman over the issue of player remuneration in the early 1970s and has suggested that Bradman was parsimonious:

Later years and death
After his wife's death in 1997, Bradman suffered "a discernible and not unexpected wilting of spirit". The next year, on his 90th birthday, he hosted a meeting with his two favourite modern players, Shane Warne and Sachin Tendulkar, but he was not seen in his familiar place at the Adelaide Oval again. Hospitalised with pneumonia in December 2000, he returned home in the New Year and died there on 25 February 2001, aged 92. A memorial service to mark Bradman's life was held on 25 March 2001 at St Peter's Anglican Cathedral, Adelaide.The service was attended by a host of former and current Test cricketers, as well as Australia's then prime minister, John Howard, leader of the opposition Kim Beazley and former prime minister Bob Hawke. Eulogies were given by Richie Benaud and Governor-General Sir William Deane. The service was broadcast live on ABC Television to a viewing audience of 1.45 million. A private service for family and friends was earlier held at the Centennial Park Cemetery in the suburb of Pasadena, with many people lining both Greenhill and Goodwood Roads to pay their respects as his funeral motorcade passed by. Legacy
Cricket writer David Frith summed up the paradox of the continuing fascination with Bradman:

As early as 1939, Bradman had a Royal Navy ship named after him. Built as a fishing trawler in 1936,  was taken over by the Admiralty in 1939, but was sunk by German aircraft the following year. In the 1963 edition of Wisden Cricketers' Almanack, Bradman was selected by Neville Cardus as one of the Six Giants of the Wisden Century.This was a special commemorative selection requested by Wisden for its 100th edition. The other five players chosen were: Sydney Barnes, W. G. Grace, Jack Hobbs, Tom Richardson and Victor Trumper. On 10 December 1985, <mask> was the first of 120 inaugural inductees into the Sport Australia Hall of Fame. He spoke of his philosophy for considering the stature of athletes:

Although modest about his own abilities and generous in his praise of other cricketers, Bradman was fully aware of the talents he possessed as a player; there is some evidence that he sought to influence his legacy. During the 1980s and 1990s, Bradman carefully selected the people to whom he gave interviews, assisting Michael Page, Roland Perry and Charles Williams, who all produced biographical works about him. Bradman also agreed to an extensive interview for ABC radio, broadcast as Bradman: The <mask> Declares in eight 55-minute episodes during 1988. The most significant of these legacy projects was the Bradman Museum, opened in 1989 at the Bradman Oval in Bowral.This organisation was reformed in 1993 as a non-profit charitable Trust, called the Bradman Foundation. In 2010, it was expanded and rebranded as the International Cricket Hall of Fame. When the Australian Cricket Hall of Fame was created in Melbourne in 1996, <mask> was made one of its 10 inaugural members. In 2000, Bradman was selected by cricket experts as one of five Wisden Cricketers of the Century. Each of the 100 members of the panel were able to select five cricketers: all 100 voted for Bradman. The ICC Cricket Hall of Fame inducted him on 19 November 2009. Bradman's life and achievements were recognised in Australia with two notable issues.Three years before he died, he became the first living Australian to be featured on an Australian postage stamp. After his death, the Australian Government produced a 20-cent coin to commemorate his life. On 27 August 2018, to celebrate 110 years since his birth, Bradman was commemorated with a Google Doodle. To mark 150 years of the Cricketers' Almanack, Wisden named him as captain of an all-time Test World XI. In 1999, Bradman was named in the six man shortlist for BBC Sports Personality of the Century. Asteroid 2472 Bradman discovered by Luboš Kohoutek is named in his honour. Family life

Bradman first met Jessie Martha Menzies in 1920 when she boarded with the Bradman family, to be closer to school in Bowral.The couple married at St Paul's Anglican Church at Burwood, Sydney on 30 April 1932. The two had an impeccable marriage and were devoted to each other. During their 65-year marriage, Jessie was "shrewd, reliable, selfless, and above all, uncomplicated...she was the perfect foil to his concentrated, and occasionally mercurial character". Bradman paid tribute to his wife numerous times, once saying succinctly, "I would never have achieved what I achieved without Jessie". The Bradmans lived in the same modest, suburban house in Holden Street, Kensington Park in Adelaide for all but the first three years of their married life. They experienced personal tragedy in raising their children: their first-born son died as an infant in 1936, their second son, John (born in 1939) contracted polio, and their daughter, Shirley, born in 1941, had cerebral palsy from birth. His family name proved a burden for <mask>; he legally changed his last name to Bradsen in 1972.Although claims were made that he became estranged from his father, it was more a matter of "the pair inhabit[ing] different worlds", and the two remained in contact through the years. After the cricketer's death, a collection of personal letters written by Bradman to his close friend Rohan Rivett between 1953 and 1977 was released and gave researchers new insights into Bradman's family life, including the strain between father and son. <mask>'s reclusiveness in later life is partly attributable to the ongoing health problems of his wife, particularly following the open-heart surgery Jessie underwent in her 60s. Lady <mask> died in 1997, aged 88, from cancer. This had a dispiriting effect on Bradman, but the relationship with his son improved, to the extent that John resolved to change his name back to <mask>. Since his father's death, <mask> has become the spokesperson for the family and has been involved in defending the Bradman legacy in a number of disputes. The relationship between Bradman and his wider family is less clear, although nine months after <mask>'s death, his nephew Paul Bradman criticised him as a "snob" and a "loner" who forgot his connections in Bowral and who failed to attend the funerals of Paul's mother and father.The operatic soprano Greta Bradman is his granddaughter. In popular culture

<mask>'s name has become an archetypal name for outstanding excellence, both within cricket and in the wider world. The term Bradmanesque has been coined and is used both within and outside cricketing circles. Steve Waugh described Sri Lankan Muttiah Muralitharan as "the <mask>man of bowling". Bradman has been the subject of more biographies than any other Australian, apart from the bushranger Ned Kelly. <mask> himself wrote four books: <mask>'s Book–The Story of My Cricketing Life with Hints on Batting, Bowling and Fielding (1930), My Cricketing Life (1938), Farewell to Cricket (1950) and The Art of Cricket (1958). The story of the Bodyline series was retold in a 1984 television mini-series, with Gary Sweet portraying Bradman.Bradman is immortalised in three popular songs from different eras, "Our Don Bradman" (1930s, by Jack O'Hagan), "Bradman" (1980s, by Paul Kelly), and "Sir <mask>", (a tribute by John Williamson performed at Bradman's memorial service). Bradman recorded several songs accompanying himself and others on piano in the early 1930s, including "Every Day Is A Rainbow Day For Me", with Jack Lumsdaine. In 2000, the Australian Government made it illegal for the names of corporations to suggest a link to "Sir <mask>man", if such a link does not in fact exist. Other entities with similar protection are the Australian and foreign governments, Saint Mary MacKillop, the Royal Family and the Returned and Services League of Australia. Bibliography
 How to Play Cricket (2013) by <mask>, Orient Paperbacks,

See also

 List of Test cricket records
 ICC Player Rankings

References

Sources

 Baldwin, Mark (2005): The Ashes' Strangest Moments: Extraordinary But True Tales from Over a Century of the Ashes, Franz Steiner Verlag. .
 <mask>, <mask> (1950): Farewell to Cricket, 1988 Pavilion Library reprint. .
 Cashman, Richard et al. – editors (1996): The Oxford Companion to Australian Cricket, Oxford University Press. .
 Coleman, Robert (1993): Seasons in the Sun: the Story of the Victorian Cricket Association, Hargreen Publishing Company. .
 Davis, Charles (2000): The Best Of the Best: A New Look at the Great Cricketers and Changing Times, ABC Books. .
 Dunstan, Keith (1988, rev. ed.): The Paddock That Grew, Hutchinson Australia. .
 Eason, Alan (2004): The A-Z of Bradman, ABC Books. .
 Fingleton, Jack (1949): Brightly Fades the Don, 1985 Pavilion Library reprint. .
 Frith, David (2002): Bodyline Autopsy, ABC Books. .
 Gibbs, Barry (2001): My Cricket Journey, Wakefield Press. .
 Harte, Chris (1993): A History of Australian Cricket, André Deutsch. .
 Haigh, Gideon. "Sir <mask>man at 100." The Monthly, August 2008. Haigh, Gideon (1993): The Cricket War – the Inside Story of Kerry Packer's World Series Cricket, Text Publishing Company. .
 Hutchins, Brett (2002): <mask>: Challenging the Myth, Cambridge University Press. .
 O'Reilly, Bill (1985): Tiger – 60 Years of Cricket, William Collins. .
 McGilvray, Alan & Tasker, Norman (1985): The Game Is Not the Same, ABC Books. . Page, Michael (1983): <mask> – The Illustrated Biography, Macmillan Australia. .
 Perry, Roland (1995): The Don – A Biography of Sir <mask>, Macmillan. .
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texts:
<mask> (born 1946, Subiaco, Western Australia) is a composer and musician whose work is focused on ruined pianos. His recordings are available on Emanem (London), Pogus (New York), New Albion (San Francisco) and Tall Poppies (Sydney), as well as on his WARPS (World Association for Ruined Piano Studies) label. Career

Music
<mask> studied the music theory as well as its history and composition at the University of Western Australia between 1964 and 1967. This fired his interest in the music of composers such as Webern, Boulez and Cage. After playing the piano for six years at the Parmelia Hilton, he explored non-conventional timbral and rhythmic possibilities of the prepared piano and released a cassette, The Temple of Joyous Bones, which featured the piano. Bolleter found inspiration in the eighties playing and recording improvised music with flautist Tos Mahoney and double bassist, Ryszard Ratajczak. Over the past thirty years Bolleter has explored the timbral possibilities of ruined pianos, as quoted: old pianos that have been exposed to the elements of time and weather thus acquiring novel and unexpected musical possibilities.A piano is ruined (rather than neglected or devastated) when it has been abandoned to all weathers and has become a decaying box of unpredictable dongs, tonks and dedoomps. The notes that do not work are at least as interesting as those that do. <mask> has five ruined pianos in his kitchen including the original ruined piano from Nallan Sheep Station, near Cue, 800 km north east of Perth, Western Australia. At Kim Hack's and Penny Mossops's olive farm, Wambyn, near York, Western Australia, Kim Hack and Bolleter developed the Ruined Piano Sanctuary, where some forty pianos are ruining in their own ways, and at their own pace, variously under trees, in dams, and on roofs. Bolleter's recent CD Frontier Piano, which represents the best of his work from 2007–2014, is almost entirely devoted to recordings of these dying pianos. Each piano in decay is a long-running composition. Death comes to every piano, and dying, each sings a different kind of song.In 1989 <mask> set up the Synchronicity Project where he devised a series of intuitive pieces where musicians improvised simultaneously but in different centres in Australia and across the world. In several instances these pieces were set up to cast a net for synchronistic events, especially musical synchronicities. The Synchronicity Project produced a series of radiophonic works. The first of these works was Simulplay 1 (September 1989) had Jim Denley playing flute to a live audience at the B rucknerhaus in the Ars Electronica in Linz, Austria – with <mask> playing piano and accordion, together with Carol Henning playing plastic trombone, in the ABC radio studios, Perth. The second work, That Time/Simulplay 2 – an intuitive piece for two musicians on opposite sides of a continent, playing at precisely the same time but unable to hear each other, while a radio audience hears both of them – involved Ryszard Ratajczak playing double bass in Studio 210 of ABC FM Sydney with Bolleter playing both pianos in separate recordings in ABC's Studio 621, Perth. That Time/Simulplay 2 was released on the Pogus label, New York, as part of the album Crow Country in 2000. <<mask> and Rowan Hammond:“Improvising with synchronistic experiences” in NMA 9, Melbourne, 1991>

Another radiophonic piece Pocket Sky: a worldwide link up between Jim Denley (Radio ORF Vienna), Stevie Wishart (BBC London), David Moss (SFR Berlin), Jon Rose (ABC Sydney), Simone de Haan (ABC Melbourne), and <mask> (ABC Perth), took place on 21 October 1991.It was released as the CD Pocket Sky (2004) (WARPS W08). <mask>'s 1996 piece Left Hand of the Universe CD (WARPS W02) linked up Michal Murin and other Slovak and Czech musicians in Bratislava, and Stephen Scott and various musicians at Colorado College, without recourse to radio. All the musicians were playing ruined instruments, or were in the process of ruining them. Left Hand of the Universe was released on CD in 1997 as WARPS W02. <mask>'s output also includes two CDs of café music: Paradise Café and Café Sophia which feature him playing the accordion, his film music, and his songs. <mask>'s songs, sung by Anthony Cormican, are also featured on their CD Songs from the Third Watch. This CD includes <mask>'s setting of Kenneth Slessor's 1937 poem Five Bells and Cormican's setting of Billy Strayhorn's Lush Life.Bolleter has released more than twenty CDs, primarily of ruined piano compositions and improvisations. His CD Crow Country, released on the Pogus label as Pogus 7 6034-21021-2 (New York, 2000. ), was nominated as one of the 10 best albums of 1999 by Cadence Magazine (New York) and constitutes the best of his work from 1988 to 1999. Secret Sandhills and Satellites, released on the Emanem label, London, UK (2006), was voted best CD of September 2006 by Blow Up magazine (Italy), and number two CD of the year by dMute Magazine (Jazz and Improvised Music), France. Secret Sandhills and Satellites presents the best of Bolleter's work from 2001 to 2006. Bolleter has performed with a variety of artists including Kavisha Mazzella, Tos Mahoney, Ryszard Ratajczak, Mark Cain, K.K.Null, Jim Denley, Jon Rose, David Moss, Simone de Haan, Michal Murin, Zdenek Plachy, Milan Adanciak, Stephen Scott, David Kotlowy, and Richard Lynn – as well as with bands such as the Black Eyed Susans. From 2000 to 2016, he has worked with producer/composer Anthony Cormican in a collaboration uniting Anthony's work with the music editing program Pro Tools with his own ultra-low tech ruined pianos.Since 2010, <mask> has collaborated with the visual artist and composer Antoinette Carrier in work which includes her woven pianos as well as her creation of the first urban Piano Sanctuary in Bedford, Western Australia. Carrier's CD Nothing as a Thing was released on the WARPS label. Bolleter performed as an accordionist/story teller at the Adelaide Festival of 1998, and on ruined piano(s) at the Australian National Academy of Music (ANAM) in "Piano!" (2009), in the Ten Days on the Island Festival, where he created the project "Ruined" (2008) and in various of Tura New Music's Totally Huge New Music Festivals under the artistic direction of Tos Mahoney, beginning with the Ruined Piano Convergence of 2005. Bolleter's work is regularly featured on ABC's Radio National and ABC FM. Film maker Robert Castiglione has made a film of Bolleter's work with ruined pianos entitled Invitation to Ruin. It was shown in Tura's Totally Huge New Music Festival of 2015.Andrew Ford, in his book In Defence of Classical Music<ABC Books><Sydney, 2005> has a chapter on <mask>'s work entitled Things fall apart in the music of <mask>. Zen Teacher
<mask> is an Australian Zen Buddhist teacher in the Diamond Sangha lineage. He trained with Robert Aitken and John Tarrant from 1982 to 1992. In 1992 he was authorized to teach by John Tarrant, and received transmission from Robert Aitken and John Tarrant in 1997. He teaches primarily in the Zen Group of Western Australia, but has also taught extensively elsewhere in Australia, and in New Zealand. His successors are: Mary Jaksch, Susan Murphy, Bob Joyner, Ian Sweetman, Glenn Wallis, Arthur Wells and Mari Rhydwen. <mask>'s book The Five Ranks of Dongshan: Keys to Enlightenment was published by Wisdom Publications in 2014.His second book: "The Crow Flies Backwards and Other New Zen Koans" was published by Wisdom Publications in 2018. The koans in the Crow have as their themes: love, relationships, childbirth, work, and creativity, amongst others. For a selection of Bolleter's talks and reviews of his Five Ranks book see http://bolleterzen.com See also http://www.zgwa.org.au for information on the Zen Group of Western Australia, and other Bolleter podcasts. References:
<<mask>ter: The Five Ranks of Dongshan: Keys to Enlightenment (Wisdom Publications, Massachusetts, 2014)>

<<mask>ter: The Crow Flies Backwards and Other New Zen Koans (Wisdom Publications, Massachusetts, 2018)>

Poetry
Fremantle Press published a volume of Bolleter's poems, Piano Hill in 2010. His earlier book of poems All the Iron Night was published by Smokebush Press in 2004. His book Average Human Heart, which includes sixty-odd "left hand" stories as well as prose poems, was finished in June 2016, as was his most recent volume of poems, Track me Down. Discography

1990s
Country of Here Below, Tall Poppies TP045, Sydney, 1993

W08Ross Bolleter & Rob Muir: The Night Moves on Little Feet (1997) WARPS W03

Left Hand of the Universe (1997) WARPS W02

2000s
Crow Country, Pogus, New York, P21021-2,2000

Satellites (2002) WARPS W06

Secret Sandhills (2002) WARPS W05

<mask>ter: Paradise Café (2004) Sunset Ostrich S01

Pocket Sky (2004, 1991) WARPS

Secret Sandhills and satellites, Emanem 4128 (London), 2006

Ross Bolleter: Café Sophia (2008) Sunset Ostrich S02

Five by Five (2009) WARPS W11 DVD of 5 pieces in 5.1 Surround.Intimate Ruins (2009) WARPS W10

2010s
Night Kitchen, Emanem 5008, London, 2010

Gust (2011) WARPS W15

Piano Dreaming (2nd edition) (2011) WARPS W12

<mask> & Anthony Cormican Spring in Iraq (2nd edition) (2011) WARPS W13

Solitary Light (2011) WARPS W14

Music of Chance WARPS W16 (2011, 2013)

<mask>ter & Anthony Cormican Concertino Latino (2012)–including Concertino Latino by Anthony Cormican & <mask>,
performed by Anthony and <mask> & Alone Together by <mask>, performed by Tos Mahoney & <mask>. Sunset Ostrich SO3

<mask> and David Kotlowy Vault (2012) (a WARPS MyoOn co-production)

High Rise Piano (2013) WARPS W19

<mask> and Anthony Cormican Songs from the Third Watch (2013) WARPS W18

Frontier Piano (2014) WARPS W20

Music of Chance (2nd edition) (2014) WARPS W 21

While my coffee cools (2015) WARPS W22 – Bolleter's poems in a musical setting

<mask> & Anthony Cormican Quarry Music (2017) WARPS W23 – ruined pianos & stories in 5.1 surround, and stereo

<mask> & Martin Seddon Inland Sea (2017) WARPS W25 – two solo improvisations on two or more ruined pianos, including stories

<mask> & Anthony Cormican (2019) Beloved on this Earth: a song cycle WARPS W28

---TOTAL PIANO PROJECT---
Night is a world lit by itself (2017) WARPS W26 –solo improvisations for prepared piano. Total Piano, volume 1
Speak Love (2018) WARPS W27 – solo improvisations on ruined pianos and pianos at the edge of ruin. Total Piano, volume 2
Heard from Earth (2019) WARPS W28 - an angular approach to The Lounge Room Piano. Total Piano, volume 3
Terra Incognita (2020) WARPS W29 - three pieces for multiple ruined pianos in 360 surround. Total Piano, volume 4

2020s----
International release:
Total Piano, volumes 1-4 was released by Vincent Capes's Thödol Music, France, in July 2021.It features a booklet of Antoinette Carrier's
subtle and lovely photographs of ruined pianos. Ross Bolleter & Sylvain Roux (2021) Closer than Breathing: a synchronous creation WARPS W30

Ross Bolleter & Antoinette Carrier (2021) Compound Fracture: a synchronous creation WARPS W31

Café Antoinette (2019) Sunset Ostrich S04

Compilations
Ross Bolleter's "Hymn to Ruin" on Margaret Leng Tan's She Herself Alone, Mode 221, New York.<mask>'s “Nallan Void” on Austral Voices New Albion NA028CD, San Francisco, (1990). Books
- The Crow Flies Backwards and Other New Zen Koans (Wisdom Publications, Massachusetts, 2018). - 'Du piano-épave / The Well Weathered Piano'' (Lenka lente, 2017). - The Five Ranks of Dongshan: Keys to Enlightenment (Wisdom Publications, Massachusetts, 2014). - Piano Hill (Fremantle Press, 2008) Poems inspired by pianos, ruined and otherwise. - All the Iron Night (Smokebush Press, 2004) Poems of love and death. - Fostering Creative Improvisation at the Keyboard: A Handbook for Piano Teachers (1979)

References

</Andrew Ford, In Defence of Classical Music, ABC Books, Sydney, 2005>

External links
WARPS music (link outdated), the label co-founded by <mask> and Stephen Scott specialises in ruined piano music.WARPS? World association for Ruined Piano Studies. An artistic history of Bolleter (outdated)

Australian male composers
Australian composers
1946 births
Living people
People from Perth, Western Australia
Zen Buddhist spiritual teachers
Australian Zen Buddhists

masks:
Ross Bolleter
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Ross Bolleter
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Ross Bolleter
Ross Bolleter
Ross Bolleter
Bolleter


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<mask> (born Isidore Hochberg; April 8, 1896 – March 5, 1981) was an American popular song lyricist and librettist who worked with many well-known composers. He wrote the lyrics to the standards "Brother, Can You Spare a Dime?" (with Jay Gorney), "April in Paris", and "It's Only a Paper Moon", as well as all of the songs for the film The Wizard of Oz, including "Over the Rainbow". He was known for the social commentary of his lyrics, as well as his liberal sensibilities. He championed racial and gender equality and union politics. He also was an ardent critic of religion. Early life and career
<mask>, the youngest of four surviving children (out of ten), was born Isidore Hochberg on the Lower East Side of New York City on April 8, 1896.His parents, Lewis Hochberg and Mary Ricing, were Yiddish-speaking Orthodox Jews who had emigrated from Russia. He later adopted the name <mask>, and came to be best known as Edgar "<mask>" <mask>. He attended Townsend Harris High School, where he and Ira Gershwin, who bonded over a shared fondness for Gilbert and Sullivan, worked on the school paper and became lifelong friends. According to his son <mask>, Gilbert and Irish dramatist George Bernard Shaw taught his father, a "democratic socialist, [and] sworn challenger of all tyranny against the people, that 'humor is an act of courage' and dissent". After World War I, Harburg returned to New York and graduated from City College (later part of the City University of New York), which Ira Gershwin had initially attended with him, in 1921. After Harburg married and had two children, he started writing light verse for local newspapers. He became a co-owner of Consolidated Electrical Appliance Company, but the company went bankrupt following the crash of 1929, leaving Harburg "anywhere from $50,000 – $70,000 in debt," which he insisted on paying back over the course of the next few decades.At this point, <mask> and Ira Gershwin agreed that Harburg should start writing song lyrics. Gershwin introduced Harburg to Jay Gorney, who collaborated with him on songs for an Earl Carroll Broadway review (Earl Carroll's Sketchbook): the show was successful and Harburg was engaged as lyricist for a series of successful revues, including Americana in 1932, for which he wrote the lyrics of "Brother, Can You Spare a Dime?" to the tune of a lullaby Gorney had learned as a child in Russia. This song swept the nation, becoming an anthem of the Great Depression. Harburg was a staunch critic of religion. He wrote a poem entitled "Atheist" that summarized his views on God. Hollywood and Broadway
Harburg and Gorney were offered a contract with Paramount: in Hollywood, Harburg worked with composers Harold Arlen, Vernon Duke, Jerome Kern, Jule Styne, and Burton Lane, and later wrote the lyrics for The Wizard of Oz, one of the earliest known "integrated musicals," for which he won the Academy Award for Best Music, Original Song for "Over the Rainbow."Of his work on The Wizard of Oz, his son (and biographer) <mask> has said:

Working in Hollywood did not stop <mask>'s career on Broadway. In the 1940s, he wrote a series of "book" musicals with social messages, including the successful Bloomer Girl (1944), set during the Civil War, which was about temperance and  women's rights activist Amelia Bloomer, and which celebrated equality for women, Abolitionism, and the Underground Railroad. <mask>'s best known Broadway show, Finian's Rainbow (1947) was, in its original production, possibly the first Broadway musical with a racially integrated chorus line, and features his "When the Idle Poor Become the Idle Rich." Its plot satirized American financial practices and criticized reactionist politicians, mistreatment of the working classes as well as racism and the Jim Crow laws. It was made into a film in 1968 starring Fred Astaire and Petula Clark, directed by Francis Ford Coppola. Blacklisting
Although never a member of the Communist Party (he was a member of the Socialist Party, and joked that "Yip" referred to the Young People's Socialist League, nicknamed the "Yipsels") he had been involved in radical groups, and he was blacklisted. Harburg was named in a pamphlet Red Channels: The Report of Communist Influence in Radio and Television; his involvement with the Hollywood Democratic Committee, and his refusal to identify reputed communists, led to him being blocked from working in Hollywood films, television, and radio for twelve full years, from 1950 to 1962."As the writer of the lyric of the song 'God's Country', I am outraged by the suggestion that somehow I am connected with, believe in, or am sympathetic with Communist or totalitarian philosophy", he wrote to the House Un-American Activities Committee in 1950. He was unable to travel abroad during this period, as his passport had been revoked. With a score by Sammy Fain and Harburg's lyrics, the musical Flahooley (1951) satirized the country's anti-communist sentiment, but it closed after forty performances at the Broadhurst Theatre on Broadway. The New York critics were dismissive of the show, although it had been a success during its earlier pre-Broadway run in Philadelphia. Later career
In 1966, songwriter Earl Robinson sought Harburg's help for the song "Hurry Sundown"; the two collaborated on the song and are credited as co-writers. The song was intended for the film Hurry Sundown, but was not used in the film. It was, however, recorded by Peter, Paul and Mary for their 1966 album The Peter, Paul and Mary Album.The song was released as a single in 1967, and reached No. 37 on the Billboard Easy Listening chart. It was also nominated for the Grammy Award for Best Folk Recording. <mask> died while driving on Sunset Boulevard in Los Angeles, California, on March 5, 1981. While he was initially reported to have been killed in a traffic accident, it was later determined that he suffered a heart attack while stopped at a red light. Awards and recognition
In 1940 <mask> won an Oscar, shared with Harold Arlen, for Best Music, Original Song
for The Wizard of Oz (1939). In addition, he was nominated for an Oscar for Best Music, Original Song, along with Arlen,
for Cabin in the Sky, (1943) and Best Music, Original Song
for Can't Help Singing, shared with Jerome Kern in (1944).<mask> was inducted into the Songwriters Hall of Fame in 1972. On March 7, 2001, the results of a poll conducted by the Recording Industry Association of America and the National Endowment for the Humanities ranked Judy Garland's rendition of "Over the Rainbow" as the Number One recording of the 20th century. On June 22, 2004, the American Film Institute broadcast AFI's 100 Years ... 100 Songs, a TV special announcing the 100 greatest film songs. "Over the Rainbow" was Number One, and "Ding-Dong! The Witch Is Dead" was Number 82. In April 2005, the United States Postal Service issued a commemorative stamp recognizing Harburg's accomplishments. The stamp was drawn from a portrait taken by photographer Barbara Bordnick in 1978 along with a rainbow and lyric from "Over the Rainbow".The first day ceremony was held at the 92nd Street Y in New York. Songs
"Brother, Can You Spare a Dime?" with composer Jay Gorney (1932)
"Riddle Me This" with composer Lewis Gensler (from the revue, "Ballyhoo of 1932", 1932)
"How Do You Do It? with composer Lewis Gensler (as above, 1932)
"April in Paris" with Vernon Duke (1932)
"It's Only a Paper Moon" with Harold Arlen (1933)
"Then I'll Be Tired of You" with Arthur Schwartz (1934)
"Last Night When We Were Young" with composer Harold Arlen (1935)
"Down with Love" with Harold Arlen (1937)
"Over the Rainbow" with Harold Arlen (1939)
"We're Off to See the Wizard" with Harold Arlen (1939)
"Lydia the Tattooed Lady" with Harold Arlen (1939)
"Happiness Is a Thing Called Joe" with Harold Arlen (1943)
"Salome" with Roger Edens (1943) (for the movie Du Barry Was a Lady)
"The Eagle and Me" with Harold Arlen (1944)
"How Are Things in Glocca Morra?" with Burton Lane (1946)
"Old Devil Moon" with Burton Lane (1947)
"When the Idle Poor Become the Idle Rich" with Burton Lane  (1947)
"Free and Equal Blues" performed by Josh White
"And Russia Was Her Name" with Jerome Kern (1943)

Broadway revues
Earl Carroll's Sketchbook of 1929 (1929) - co-composer and co-lyricist with Jay Gorney
Garrick Gaieties (1930) - contributing lyricist
Earl Carroll's Vanities of 1930 (1930) - contributing songwriter
The Vanderbilt Revue (1930) - contributing lyricist
Ziegfeld Follies of 1931 (1931) - featured lyricist for "Mailu"
Shoot the Works (1931) - contributing composer and lyricist
Ballyhoo of 1932 (1932) - lyricist
Americana (1932) - lyricist. The Revue include "Brother Can You Spare a Dime?" Walk A Little Faster (1932) - lyricist
Ziegfeld Follies of 1934 (1934) - primary lyricist (for about half of the numbers)
Life Begins at 8:40 (1934) - co-lyricist with Ira Gershwin
The Show is On (1936) - featured lyricist
Blue Holiday (1945) - all-Black cast - contributing composer and lyricist
At Home With Ethel Waters (1953) - featured lyricist for "Happiness is a Thing Called Joe"

Post-retirement or posthumous credits:
A Day in Hollywood / A Night in the Ukraine (1980) - featured lyricist for Over the Rainbow
Jerome Kern Goes to Hollywood (1986) - featured lyricist to music by Jerome Kern
Mostly Sondheim (2002) - featured lyricist

Broadway musicals
Hooray for What!(1937) - lyricist and originator
Hold On to Your Hats (1940) - lyricist
Bloomer Girl (1944) - lyricist, originator and director for musical numbers
Finian's Rainbow (1947) - lyricist, originator and co-bookwriter
Revived in 1955, 1960, 2009
Flahooley (1951) - lyricist, originator and co-bookwriter
Jamaica (1957) - lyricist, originator and co-bookwriter - Tony Nomination for Best Musical
The Happiest Girl in the World (1961) - originator and lyricist to music by Jacques Offenbach and originator of the story, based on Lysistrata by Aristophanes
Darling of the Day (1968) - lyricist

Films
Moonlight and Pretzels (1933)
The Singing Kid (1936)
Gold Diggers of 1937 (1936)
The Wizard of Oz (1939)
At the Circus (1939)
Babes on Broadway (1941)
Ship Ahoy (1942)
Cabin in the Sky (1943) (Harburg's song "Aint It The Truth", expressing religious skepticism, was removed)
Can't Help Singing (1944)
Gay Purr-ee (1962)
Finian's Rainbow (1968)

Books
Rhymes for the Irreverent (1965)
At This Point in Rhyme (1976)

References

Further reading

Meyerson, Harold and Ernie Harburg. Who Put the Rainbow in the Wizard of Oz: <mask> <mask>, Lyricist, University of Michigan Press, (1993). Alonso, Harriet. "<mask> Harburg: Legendary Lyricist and Human Rights Activist," Wesleyan University Press (2012). External links

The Yip Harburg Foundation website
Biography of Harburg from USPS
"A Tribute to <mask> Harburg: The Man Who Put the Rainbow in The Wizard of Oz", a Democracy Now! special, including audio/video clips of Yip Harburg, and an extended interview with his son and biographer, Ernie Harburg (video, audio, and print transcript)

E. Y. Harburg papers (first installment) and E. Y. Harburg papers (second installment) held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
E. Y. Harburg scores (his personal collection), held in the Music Division of the New York Public Library for the Performing Arts

Celebrated Lyricist Yip Harburg's Rhymes For The Irreverent Released February 2, 2006, article on The Freedom From Religion Foundation's website
April 29, 2006 - Somewhere Over the Rainbow . . . Rhymes for the Irreverent Freedom From Religion Foundation's Podcast
Over The Rainbow With Yip Harburg (BBC Radio 4 programme)
The Man Who Put the Rainbow in The Wizard of Oz by Amy Goodman
1920 passport photo of Yip Harburg(courtesy of the puzzlemaster, flickr.com)
Yip Harburg - Over The Rainbow
Yip Harburg - Brother, Can You Spare A Dime?E. Y. Harburg recordings at the Discography of American Historical Recordings. 1896 births
1981 deaths
American musical theatre lyricists
Broadway composers and lyricists
Jewish American songwriters
Best Original Song Academy Award-winning songwriters
20th-century American musicians
Jewish American writers
Hollywood blacklist
American socialists
Jewish socialists
Jewish American atheists
City College of New York alumni
Townsend Harris High School alumni
People from the Lower East Side
American people of Russian-Jewish descent
Accidental deaths in California
Road incident deaths in California
Burials at sea

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