texts:
<mask> (4 April 1843 – 28 September 1917), invariably known as <mask><mask> or A. M<mask>, was a South Australian industrialist, a principal of the manufacturing firm of A. Simpson & Son. He was a member of the South Australian Legislative Council from 1887 to 1894. History
<mask><mask> was born in England, the son of silk hat manufacturer <mask> (1805 – 23 September 1891) and his wife <mask>, née Neighbour ( – 30 December 1874). The name "<mask>" or "<mask>" was bestowed on him in recognition of a business partner who proved unreliable, and thenceforth never mentioned by the family. After a series of financial setbacks the family emigrated, virtually penniless, to South Australia on the John Woodhall, arriving in January 1849, and in 1855 founded in Gawler Place the hardware firm that in April 1864 became A. Simpson & Son. The young <mask> was educated at Mr. <mask>'s school in Pirie Street 1855–6 or 1856–7. He was from age 14 apprenticed as a tinsmith at his father's shop and worked for his father until his 21st birthday, when he was made a partner in the business.He gradually took greater control of the business, replacing simple hand tools with power machinery of all kinds — drills, grinders, guillotines, mills and presses, all belt-driven from overhead shafts driven by steam engines. The company's workforce grew from half-a-dozen to 500. He installed a foundry which became the largest consumer of pig iron in the colony. The range of products of the factory was ambitious. A notable product was a safe, whose fire-resisting properties were satisfactorily proved at a trial in the Adelaide Parklands in 1866, and exhibited the following year at the Adelaide Jubilee International Exhibition. A later model of the <mask> safe, following a rash of safe-blowing by "dynamitards", featured an explosion-proof lock. <mask> safes were to be found in banks and offices for much of the century.Bakers' ovens introduced around the same time and employing similar technology, were similarly successful and durable. The precision frames for the ovens were cast at Samuel Strapps' foundry in Currie Street. In 1868 a new factory was built at the corner of Grenfell Street and Gawler Place. In 1871 another factory was built further south on Gawler place, in the old (1841) Congregational chapel, once the home of J. L. Young's Adelaide Educational Institution. In 1876 they purchased a section on the corner of Pirie Street and Gawler Place. In 1894 vacant land in Wakefield Street was purchased from C. G. Everard for another factory, which later occupied . A. M<mask> was a director and major shareholder in the short-lived "SA Iron and Steel Company", formed in response to a Government incentive, to mine and smelt iron ore at Mount Jagged on <mask>slin's property near Victor Harbor.Some ore was smelted in 1874 and exhibited at the Show that year, but after a solid plug of smelted iron formed at the base of the furnace the project was abandoned. Other directors were J. Acraman, A. Sidney Clark and J. G. Ramsay. For 49 years he held the reins as proprietor, and then passed most of the responsibilities onto his sons A. A<mask> and F. N<mask>, though retaining the role of managing director until his death. He continued to make visits to the company's head office in Gawler Place, and factories in Pirie street and Wakefield street. <mask>, first and foremost a business man, was reluctant to enter Parliament, but in 1887 (South Australia's jubilee year) he consented to contest a vacancy for the Central Division of the Legislative Council on behalf of the Protectionist Party. He signed the nomination paper on the Wednesday prior to the election, and did not address a single meeting, yet was returned at the head of the poll, as a colleague of J. H. Angas, also a Protectionist.He occupied the seat until 1894, then refused to nominate for the following election. He was a level-headed, straight politician of pronounced views. He not only opposed the introduction of payment of members, but, when that measure was carried, he gave the whole of his parliamentary allowance (£1,200) to be used as prize money for the encouragement of rifle shooting. Other interests
He was a prominent Freemason, and served in various high offices. He contributed generously to the erection of the Adelaide Masonic Temple. He was interested in military matters: at 18 years of age he joined the first volunteer regiment raised in the Colony, and later transferred to the Adelaide Rifles. In 1885 there was a fear that Great Britain and Russia would go to war, and when communication with Britain was interrupted due to a break in the submarine line, a scare arose that the Russians were about to invade.A. M<mask> had his factory on a war footing, making electrically detonated submarine mines. He invented a trench periscope and mobile kitchens for use in the Great War. In March 1916 he made a gift of £2,250 to the defence authorities, which was used to purchase an F.E. 2B fighter plane. He played a prominent part in the 1887 Adelaide Jubilee International Exhibition. He was President of the Royal Agricultural and Horticultural Society for two years. He was a member of the first committee of the Australian National Union (the forerunner of the Australian Natives' Association).He was a trustee of the State Bank. He was a member of the Board of Conciliation for many years. He was in 1876, with W. C. Buik, <mask>k as chairman, which position he held until its dissolution, when its assets were taken over by the Municipal Tramways Trust. He was also for a long time on the boards of the Port Adelaide Dock Company and the South Australian Gas Company. He was a member of the Board of Governors of the Adelaide Botanic Gardens from 1899 and also contributed in concrete ways: he funded the brick kiosk in the grounds and, with R. Barr Smith the "boy and swan" fountain behind the palm house. He was Treasurer of the Adelaide Unitarian Christian Church, Wakefield Street, from 1884 to 1900.He was Treasurer of the South Australian Institute for the Blind and Deaf and Dumb, Brighton, from 1896. He was an excellent chess player, taking part in the first Adelaide tournament in 1864. He helped found the Adelaide Chess Club, and was its President from 1892. He underwrote the costs involved in bringing the English champion J. H. Blackburne to Adelaide, whose fees alone were £25 (perhaps $20,000 in today's money). In a simultaneous game <mask> was the last to succumb to the champion, though the star of the evening was Henry Charlick, who conducted two games, winning one and drawing the other; Blackburne's only reverses. He was a good friend of the St. John Ambulance Association
and was for a long time Chairman of the Kalyra Sanatorium for Consumptives, and the associated Estcourt House. He was for many years, and up to the time of his death, a member of the council of the South Australian branch of the Royal Geographical Society of Australasia.He was, with Richard Smith and W. H. Holmes, a founder of the first Commercial Travellers and Warehousmen's Association, forerunner of the Commercial Travellers' Association, and its secretary until 1873, when it was wound up, and its cash assets passed to the Benevolent and Strangers' Friend Society. A. M<mask> owned the land which later became Unley Shopping Centre. The Eastwood Institute was made possible by his significant donation to the Unley Council. He suffered for a long time from defective eyesight, and died after some years suffering "a serious internal complaint", i.e. cancer. Legacy

The Simpson Rifle Trophy was established in 1893 with payments due to him as a member of Parliament, but would not personally accept. A plaque on the Jubilee 150 Walkway, North Terrace, was dedicated to him.Family
<mask><mask> (c. 1842 – 28 September 1917) married Catherine Allen ( – 16 October 1887) on 18 October 1871. She was a daughter of James Allen (c. 1815 – 11 August 1881) of Unley and Harriet Allen, née <mask> (c. 1814 – 12 July 1896), who arrived in South Australia with two sisters aboard the Lady Lilford in 1839, and married in 1844. Their children included:
<mask> <mask> (15 April 1875 – 27 November 1939) married Janet Doris Hübbe (1887 – 17 December 1950) on 6 January 1910. She was a daughter of educator Edith Agnes Hübbe
Frederick Neighbour <mask> (21 May 1877 – 19 March 1954) married <mask> Wilcox ( –1966) on 5 April 1910
<mask> (12 February 1882 – 1957) married Owen Crompton (1875–1923) on 27 September 1904. Owen was a son of industrialist Joseph Crompton
Catherine Harriet <mask> (18 June 1884 – ) married Cyril Howard Welch RAMC on 31 May 1920
Katie Allen <mask> (7 October 1887 – 1965) married Leonard Charles <mask> ( – 3 July 1953), a lieutenant of the Royal Artillery, in 1915. lived at 21 Rochester street, Leabrook. They were not cousins, but may have had the same great-grandfather. He married again, to Violet Laura Sheridan (c. 1847 – 28 June 1921) on 23 August 1888.She was a daughter of Frances Keith Sheridan and Dr. John Sheridan, M.D. of Edinburgh and sister of Alice F. Keith Sheridan. A sister, <mask> ( – 1 May 1917), married John Crawford Woods on 4 January 1882. References

Australian manufacturing businesspeople
Members of the South Australian Legislative Council
1843 births
1917 deaths
19th-century Australian businesspeople

masks:
Alfred Muller Simpson
Alfred M
. Simpson
. Simpson
Alfred M
. Simpson
Alfred Simpson
Sarah Simpson
Muller
Müller
Alfred
Martin
Simpson
Simpson
. Simpson
Ma
. Simpson
. Simpson
Politics Simpson
. Simpson
David Murrayui
Simpson
. Simpson
Alfred M
. Simpson
McKr
Alfred Allen
Simpson
Simpson
Myra Louise
Sarah Simpson
Simpson
Simpson
Simpson
Catherine Simpson


type: original

texts:
<mask> is an Australian rock musician, singer-songwriter and author from Melbourne. Since 1978, Graney has collaborated with drummer-multi instrumentalist Clare Moore. The pair have fronted or been involved with numerous bands including The Moodists (1980 to 1987), <mask> and The White Buffaloes (1989 to 1990), <mask> and Coral Snakes (1987 to 1989, 1991 to 1997), The <mask> Show (1998 to 2003), <mask> and Clare Moore featuring the Lurid Yellow Mist or <mask> and the Lurid Yellow Mist (2004 to 2011) and <mask> and the mistLY. EVERYTHING WAS FUNNY, the album from 2021 was credited to <mask> and Clare Moore. He was awarded 'Best Male Vocalist' at the ARIA Music Awards of 1996 for his work on The Soft 'n' Sexy Sound, while "Feelin' Kinda Sporty" won 'Best Video' in 1997 and he has received seven other ARIA Award nominations. He has also co-presented a radio show since 2009 on Melbourne's Triple R 102.7 community radio station called Banana Lounge Broadcasting aka "BLB". Biography

Early years to The Moodists

<mask> grew up in Mount Gambier, South Australia.He attened St Marys primary school, Marist Brotehrs College, McDonalld park primary school and Mt Gambier High School. He fished school after Year 12. In 1978, he relocated to Adelaide and, as lead vocalist, he teamed with drummer Clare Moore to form Sputniks with Liz Dealey on bass guitar, Phillip Costello on guitar and Steve Miller on guitar. Sputniks released one single, "Second Glance" on an independent label before moving to Melbourne in 1979 where they disbanded. <mask>, Miller and Moore formed post-punk group The Moodists with Steve Carman on bass guitar in 1980. They released a single "Where the Trees Walk Downnhill"/"I Should Have Been Here" on the Au Go Go label. Carman was soon replaced by Chris Walsh (ex-Negatives, Fabulous Marquises) on bass guitar.This line-up released a single "Gone Dead"/"Chad’s Car", and an EP "Engine Shudder" on the Au Go Go label. In April 1983, Mick Turner (previously in Sick Things, Fungus Brains, later in Dirty Three) joined on guitar and they relocated to the United Kingdom in October. They released their studio album "Thirsty's Calling" in 1984 on the Red Flame label with Victor Van Vugt co producing with band along with engineer Tony Harris . Red Flame also released a six track mini album in 1985 called "Double Life". A single "Justice and Money Too" was released on the Creation label. Chris Walsh left in the same year, 1985. David McClymont – ex-Orange Juice – joined on bass and the band recorded two 12" EPs "Take the Red Carpet out of Town" and "Someone's Got to Give" on the T.I.M.label in the UK. The Coral Snakes and White Buffaloes
In late 1986, The Moodists ground to a halt and after taking a break <mask> and Clare Moore formed <mask> 'n' the Coral Snakes (also seen as <mask> with the Coral Snakes) in late 1987 and played in London pubs and clubs. Other members were Gordy Blair on bass guitar, Malcolm Ross (ex-Orange Juice, The Moodists) on guitar and Louis Vause on piano and keyboards. In 1988, with Barry Adamson (former member of Magazine, Nick Cave and the Bad Seeds) producing, they recorded enough material for an extended play, "At His Stone Beach" released in September on the Fire label. The cover had ornate Edwardian lettering by UK illustrator <mask>. By 1989, <mask> and Moore were ordered out of the country by UK immigration authorities. The four tracks, "World Full of Daughters", "Listen to Her Lovers Sing", "A Deal Made for Somebody Else" and "The Greatest Show in Town", were later included on CD version of the <mask> with the White Buffaloes album, "My Life on the Plains".Back in Melbourne, the couple formed <mask> with The White Buffaloes with Rod Hayward (ex-Little Murders) on guitar, Conway Savage (Boy Kings) on keyboards and Walsh (The Moodists) on bass guitar. <mask> sported an Edwardian/Western image, wearing snakeskin and brown suede, sporting a curled moustache and waxed goatee. The band released "My Life on the Plains" in 1989 with Phil Vinall producing. Vinall, a friend of <mask> and Moore, later worked with The Auteurs, Placebo and Magic Dirt (among others). The album included tracks written by other artists, such as Gene Clark, Fred Neil, Gram Parsons and the traditional "Streets of Laredo". In their live shows they included songs by Doug Sahm, Lou Reed, Buffy Sainte Marie and Tim Rose. The title was from an autobiographical tome by George Armstrong Custer in 1876, the year he died at Little Big Horn.The cover featured images of a young Jesse James, Custer and ornate Edwardian lettering by London artist <mask>, based on a Frederic Remington cowboy painting. It reflected <mask>'s obsession with wild western myth and late 1960s psychedelic bands with similar tastes, The Charlatans and Quicksilver Messenger Service from San Francisco. No singles were released from the album, although a video was shot by Tony Mahony for "Robert Ford on the Stage". Savage left to join Nick Cave and the Bad Seeds and they were joined on pedal steel guitar by Graham Lee (The Triffids). This line-up recorded "Codine", a live in the studio four track extended play, which was issued late in the year. It was later added to the CD version of the "I Was The Hunter... and I Was The Prey" album. "Codine" was written by Buffy Sainte-Marie and had been performed by The Charlatans in swaggering space cowboy style while the <mask> with the White Buffaloes cover version was equally tough.The EP sleeve was another <mask> illustration. During June 1990, <mask>, Moore and Hayward travelled to London and recorded "I Was the Hunter... and I Was the Prey" with Blair on bass guitar, Ross on guitar, and Vause on piano. The album was produced by Vinall at a Croydon home studio run by former Procol Harum organist Matthew Fisher. The cover by Western shows Graney with full 'Hickock' curled moustache and velvet pomp. It was not issued until May 1992, due to a crisis with indie distribution in the UK, under the name <mask> with the Coral Snakes. In mid-1991, the band had moved back to Melbourne with a line-up of Blair, <mask>, Moore, and Hayward; with Robin Casinader on keyboards (ex-the Wreckery). In July 1992, they released a live album, "Lure of the Tropics" on the Torn & Frayed label on Shock Records.It was recorded at St Kilda's Prince of Wales Hotel. The cover art was by Tony Mahony, the album featured three other improvised tracks (along with the title piece) and was originally mixed by Phil McKellar – it was re-released in 1997 with extra tracks and remixed by Tony Cohen. For their April 1993 album, Night of the Wolverine, the band signed with PolyGram, Andrew Picouleau (ex-Sacred Cowboys) provided the bass guitar and Tony Cohen co-produced. The album has been described as "a certified Australian rock classic. It captured <mask> at a new peak of his songwriting powers ... [tracks were] full of elegant and eccentric detail". Tex Perkins (The Cruel Sea) guested on lead vocals for "Night of the Wolverine II" with Amanda Brotchie on backing vocals. The title track and "You're Just Too Hip, Baby" reached No.48 and No. 59 on Triple J's Hottest 100 for 1993. Cover art was by Mahony who directed the video for "You're Just Too Hip, Baby". The band toured outside the inner city of Melbourne and Sydney for the first time backing Hunters & Collectors, then The Cruel Sea before heading their own national tour. The album and tours had raised their profile with mainstream music critics. "Night of the Wolverine" earned an ARIA Award nomination for 'Best Alternative Release' at the 1994 ceremony. It was released on the This Way Up label in the UK in 1996.The band's next album, "You Wanna Be There But You Don't Wanna Travel", which peaked at No. 10 on the Australian Recording Industry Association (ARIA) Album Charts, was released in June 1994. With Blair back on bass guitar, it was co-produced with Cohen. The singles from the album were, "I'm Gonna Release Your Soul" in April, and "You Wanna Be Loved" in August. A limited edition of the album included a bonus disc, Unbuttoned, with seven extra tracks. The promotional film clip for "I'm Gonna Release Your Soul", directed by Mahony, was nominated as 'Best Video' in 1995. The group's July 1995 album, The Soft 'n' Sexy Sound, was produced by Victor Van Vugt.It reached the Top 40 and earned Graney the 'Best Male Artist' accolade at the ARIA Music Awards of 1996. Graney was wearing a hot pink, crushed velvet suit and a wig and said (under his breath) 'King of Pop'. This was a reference to a 1970s pop award which was presented by teen magazine, Go-Set. The album also received nominations as 'Best Cover Art' for Mahony and 'Producer of the Year' for Victor Vaughan . "I'm not Afraid to Be Heavy" (June), "Rock 'n' Roll Is Where I Hide" (August) and "I'm Gonna Live in My Own Big World" (February 1996) were issued as singles. The limited edition album's bonus disc, Music for Colourful Racing Identities, featured seven live tracks. It was also accompanied by a media CD with an interview of Graney by HG Nelson called A Word in Yer Shell, Like.It was released in the UK and Europe on the This Way Up label in 1996. <mask> and Moore spent 6 months of the year recording and working in London. The next album, The Devil Drives, (May 1997), reached the Top 20. It was recorded in Melbourne and mixed in London at Maison Rouge studios and co-produced by <mask>, Moore and David Ruffy along with engineer Kenny Jones. It spawned the single, "Feelin' Kinda Sporty" (co-wriiten with Clare Moore) . The single won 'Best Video' by Mahony in 1997, the album was nominated for 'Best Cover Art' by Mahony and <mask> received a nomination as 'Best Male Artist'. The single was promoted with an appearance on the daytime soap Neighbours, in which <mask> sent up his sinister lounge-core persona in a pastel blue suit and a fedora – in one memorable scene holding the character Toadfish upside down and shaking him for the return of his mobile phone.It is unknown what if any impact this had on sales of the record. The second single was "A Man on the Make". The Devil Drives was the last studio album for <mask> and the Coral Snakes and with Universal Music as <mask> and Moore disbanded the group and parted ways with the label in December. Album also accompanied by a media CD with an interview with <mask> called Coffins Have no Pockets, which was part of a media booklet based on a Holden Monaro owner's manual. In 1997 <mask> released his first book, It is Written, Baby, a collection of his lyrics interspersed with fragments of journalism, memoir and opinion, with photographs by Mahony. <mask> 'n' the Coral Snakes released a compilation, The Baddest, in September 1999. It included an unreleased version of  "The Sheriff of Hell" from The Devil Drives which was re-recorded and remixed with Andrew Duffield (ex-Models) on keyboards, Phil Kenihan and Billy Miller (The Ferrets) on guitar and vocals.The same team had remixed "Feelin' Kinda Sporty" the previous year. It also featured an unreleased cover version of the AC/DC song "Show Business". Cover art was provided by Tony Mahony. The Dave Graney Show- the Royal Dave Graney Show – the Lurid Yellow Mist to the mistLY
Graney and Moore's next band was The <mask> Show (elaborated in 2003 to The Royal Dave Graney Show), which formed in early 1998 with Stuart Perera on guitar and Adele Pickvance (Robert Forster Band) on bass guitar. The single, "Between Times", and The Dave Graney Show were released in November on Festival Records. Guest musicians included Duffield, Sean Kelly (ex-Models) on backing vocals and Billy Miller. It was co-produced with Duffeild and Kenihan.In February 1999, "Your Masters Must Be Pleased with You" was released as a single and Billy Miller had permanently joined the line-up. The latter single's video was part of a twenty-minute film shot and edited by Mahony called Smile and Wave. This album saw half of it recorded and played by only <mask> and Moore, then the rest of the band was brought in to play the other half. <mask> and Moore continued to perform live around Australia and released material on their own Melbourne based label, Cockaigne. Cockaigne's first release was The Dave Graney Show's single, "Drugs are Wasted on the Young" in February 2000 ahead of the album, Kiss Tomorrow Goodbye in April. It was co-produced by <mask>, Moore and Adam Rhodes. Other singles were "Out of the Loop" (with Mahony video) and "Have You Heard About the Melbourne Mafia?", both with cover art by Mahony. <mask> described the album as "dark, brandy flavoured funk". It was released in the UK and Europe on Cooking Vinyl. A tour of Europe, with a line-up of <mask>, Moore and Perera, supporting Nick Cave and the Bad Seeds followed in 2001. It was during this tour that <mask> contracted a filthy lung infection which resulted in an operation at a hospital in Paris. (A vivid description of this episode opens his 2011 book 1001 Australian Nights). Clare Moore released her first solo album, The Third Woman, on Chapter Music in August.July 2002, saw the release of Heroic Blues, which was produced by <mask>, Moore and Adam Rhodes. The single, "Are We Goin' Too Fast For Love? ", was issued. The title track was recorded live at a sound check at the Tarwin Lower Pub earlier in the year. <mask> improvised the vocal about a performer playing to an empty room. He called it a "folk soul" album. Moore appeared with Melbourne band, The Sand Pebbles, on stage as well as on record.She contributed strings and keyboards to albums by Kim Salmon as well as the Wagons. She played on Robert Forster's (Go Betweens) covers CD I Had a New York Girlfriend. She appears with Jane Dust and the Giant Hoopoes, her own band the Dames and with jazz combination Henry Manetta and the Trip. <mask> and Moore engineered and mixed the debut albums by the Darling Downs (Salmon and Ron Peno) and the Muddy Spurs. They both played in Salmon, the seven guitar, two drummer heavy rock orchestra devised and led by Kim Salmon. In 2003, <mask> and Moore briefly reformed The Moodists – with Turner, Steve Miller and Walsh – for a limited number of performances in Melbourne to promote the release of a double compilation album, Two Fisted Art (1980 -1986). The album was released on the W.Minc label – run by Steve Miller – in 2003 and contains nineteen of the band's studio tracks on the first disc and sixteen previously unreleased live recordings (recorded in Sydney (March 1983), Melbourne (December 1984) and London (July 1985)) on the second disc.As <mask> and Clare Moore, the couple worked on the soundtrack for the feature film, Bad Eggs, and released Music from the Motion Picture – Bad Eggs in July. They received an ARIA nomination for 'Best Original Soundtrack Album' at the 2003 ceremony. The Brother Who Lived was released in 2003 by The Royal Dave Graney Show (a nod to the Royal Melbourne Show)  – with a line-up of <mask> on vocals, harmonica, organ, and bass, acoustic and electric guitars; Moore on drums, vocals, keyboards, percussion; Billy Miller on acoustic and electric guitars, and vocals; Perera on vocals and electric guitar; and Pickvance on vocals, percussion and bass guitar. It was

masks:
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
David John Graney
Graney
Dave Graney
Dave Graney
Dave Graney
Dave Western
Graney
Dave Graney
Dave Graney
Graney
Graney
Dave Western
Graney
Dave Graney
Dave Western
Graney
Dave Graney
Graney
Graney
Graney
Graney
Graney
Dave
Dave Graney
Graney
Dave Graney
Graney
Dave Graney
Dave Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Dave Graney
Graney


texts:
 produced by <mask>, Moore and J Walker. Singles issued were "Midnight to Dawn" and "All Our Friends Were Stars". The latter had a video shot and edited by <mask>, Tony Mahony made a video for "The Brother Who Lived". The main part of the album was recorded, after The Moodists reunion, in a day with all the band in the studio together.Four other tracks were recorded and mixed by <mask> and Moore at their Melbourne studio. Pickvance left the group and bass guitar was taken up by Stu Thomas (Kim Salmon and the Surrealists, Kim Salmon and the Business, Salmon, The Stu Thomas Paradox) in 2004. <mask> contributed music to and played a small (musical) part in a stage production of the 1960s British play Stone in 2004. <mask> and Moore released a double album, Hashish and Liquor, in 2005, with the first disc, Hashish performed by Graney and the second, Liquor by Moore. Jazz pianist Mark Fitzgibbon played on a lot of the album and Warren Ellis (Bad Seeds-Dirty Three) guested on flute, mandolin and violin)

In 2006, <mask>'s Point Blank was recorded, which he described as "a song cycle of a life as a heavy entertainer", for which he was accompanied by jazz musician Mark Fitzgibbon (The Moodists) on piano and Clare Moore on vibraphone. Concurrently, a touring trio of <mask> (12-string, vocal), Moore (vibes, vocal) and Stu Thomas aka Stu D (baritone guitar, vocal) was formed, performing extensively across Australia, in support of the 2006 CD, Keepin' it Unreal on Cockaigne. This trio appeared in Europe in 2008 as opening act for Nick Cave and the Bad Seeds.In 2007 <mask> and Moore joined with guitarist, Perera, pianist Mark Fitzgibbon and bass player Stu Thomas to form The Lurid Yellow Mist featuring <mask> and Clare Moore (or as <mask> and the Lurid Yellow Mist). The name of the band, according to Moore, was based on the strange miasmic cloud that the man in the 1957 science fiction film, The Incredible Shrinking Man drove his speedboat through just before he started his transformation. As a collective they worked on a batch of new songs at the Yarraville Mouth Organ Band (YMOB) hall, before entering Sing Sing Studios in September where they laid down eight tracks in a day, virtually recording live. <mask> and Moore then mixed it at their home studio, Ponderosa, finishing in November. The resultant album, We Wuz Curious was released on the Illustrious Artists label on 14 June 2008. The first single, "I'm in the Future Now", issued in November 2007, had music written by Stu Thomas, who also made the video (filmed in Cocos Islands). A video was also made for "Let's Kill God Again", which received some radio promotion.AWarded Best Music Act at 2007 Melbourne Fringe for the show nPOINT BLANK. In May 2009, <mask> released his first album credited as a solo billing, Knock Yourself Out. Described by <mask> as an "electro boogie" album. It was produced, recorded and mixed by <mask>, with Moore co-writing some tracks, arranging and contributing instrumentation, with Thomas and Perera from The Lurid Yellow Mist as guest performers. A video was produced for the title track, "Knock Yourself Out", directed by Nick Cowan, it was shot in Hosier Lane and Smith Street, Melbourne. A follow up show to the narrative performance Point Blank was performed at the Butterfly Club in 2009, which was called Live in Hell. It featured songs by Graney with other Hell-related tunes by Elvis Presley, Roxy Music, the Fall and the Doors.Mostly without any amplification, the line-up was Perera on acoustic guitar, Thomas on bass guitar, Moore on a small drum kit and <mask> on vocals. In 2010, a third narrative style show was performed at the Butterfly Club. MC Bits featured the duo of <mask> accompanied by Mark Fitzgibbon on piano. 2010 saw the release of Supermodified, a remix and remastering compilation project where Graney went back to the 2001 and 2003 albums Heroic Blues and The Brother Who Lived to sing, play extra guitars and add keyboards and percussion and remix the songs. Previously unreleased tracks were included in the package of 18 tracks, with a Mahony illustration on the cover. 2011 saw the release of Rock'n'Roll is Where I Hide, on Liberation. The album was recorded at Soundpark in Melbourne by <mask> and the Lurid Yellow Mist and mixed by Victor Van Vugt in New York.A collection of re-recordings with the Lurid Yellow Mist of songs from his back catalogue. It was released with <mask>'s second book, 1001 Australian Nights, by Affirm Press, which concentrates on his life as an artist and performer. <mask> also began writing a monthly column for the Melbourne Review. <mask> and the mistLY Voted Best Live Act by readers of Fairfax for the Age EG Music Awards 2011. In 2012, the band's name was altered to <mask> & The mistLY, and the album You've Been in My Mind was released by Cockaigne. The lead single was "Flash in the Pantz", with an accompanying video of the band shot live at Meredith Music Festival 2011. A further video for "We Need a Champion" was filmed and edited by Nick Cowan.<mask> and Moore also played and recorded an album as rhythm section for Harry Howard and the NDE, a band fronted by old friend Harry Howard (These Immortal Souls, Crime and the City Solution, the Pink Stainless Tail) and Edwina Preston. A second album called "Pretty" was recorded and released in early 2013. A video for "Devil in a Garbage Can" was shot and edited by Nick Cowans. 2013 saw a series of digital only singles released as work was begun on a solo acoustic album. Clare Moore was also concentrating on the debut album of her band, The Dames. Digital only albums Point Blank and Live in Hell were also released. Documents of the "narrative shows" performed in 2006 and 2009 respectively.The Moodists undertook a show as part of the invitational only festival DIG IT UP, curated by the Hoodoo Gurus. This line-up featured the Blue Oyster Cult, the Flaming Groovies, Peter Case and the Buzzcocks. A fourth narrative show was also performed at the Butterfly Club in Melbourne. A solo show called Early Folk featured <mask> playing songs from across his career which had been inspired by the town of Mt Gambier. May 2014 saw the release of Fearful Wiggings, the second album to be credited as a "solo" album. Again, Clare Moore featured extensively on the album playing vibes and singing. UK guitarist Nick Harper played on two tracks and <mask> recorded all the lead vocals with Lisa Gerard (Dead Can Dance) at her studio in country Victoria.Three songs from the album had accompanying video clips. The song "Everything was Legendary with Robert" had a video made for it by film makers Donna McRae and Michael Vale, while a video for "Country Roads, Unwinding" was made by <mask>. This video featured footage of the drive along the Coorong between Adelaide and Mt Gambier shot by Heath Britton. 2015 saw the release of several digital only albums:
"Play mistLY for Me – Live Recordings vol 1", "<mask> – Night of the Wolverine Demos/Early 90s Songwriter Demos", and "Once I Loved The Torn Ocean's Roar – 80s/90s Demos Vol 2" . 2015 also saw the first of several reunion shows with <mask> 'n' the Coral Snakes, playing to sellout crowds in Melbourne, Sydney, Newcastle and Adelaide. The Melbourne annual Leaps and Bounds Festival honoured <mask> and Clare Moore as Living Legends and a concert was held at the Gasometer Hotel with many Melbourne musicians paying tribute to the pair by playing their songs. The performances went for 5 hours.2016 saw Cockaigne releases being updated in digital collections via online distributor, the Orchard. February the first of a monthly digital single release with "I'm A Good Hater". In March there was "This Is The Deadest Place I've Ever Died In". In April, "I Been Trendy", in May, "Drifting Donna Reed", in June "Are You Out of Your Mind? (Get Back In) and in July "You Need A Kleek, Klook". These singles continued through the year and were all released as an album in 2017 called Let's Get Tight, credited to <mask> and Clare Moore. The album featured guest appearances from Will Hindmarsh and Emily Jarrett from Go Go Sapien as well as mistLY bass player Stu Thomas.<mask> and the mistLY played an ATP Festival in Prestatyn, Wales, curated by comedian Stewart Lee, a long time supporter of their activities. They joined up with former guitarist Malcolm Ross and played shows in Edinburgh, Glasgow, Manchester (including a BBC6 session with dj Marc Riley) and continued on to dates in France, Holland, Belgium and London. In July 2016 there was a further return show for <mask> 'n' the Coral Snakes to a packed house in Melbourne. WORKSHY – Book. <mask>ey Memoir. Affirm Press October 2017. Nominated at the 2018 OZFLIX awards for best original soundtrack (with <mask>) for the Donna McRae film, LOST GULLY ROAD

In April 2019, <mask> and the mistLY released an album called Zippa Deedoo What Is/Was That/This?In November 2019 a digital only studio album was released by <mask> and Clare Moore called One Million Years DC. The album featured guest appearances by Shane Reilly from the Lost Ragas on pedal steel and Coral Snake Robin Casinader on mellotron. <mask> and Clare Moore inducted into South Australian Music Hall of Fame December 2019. 2020 digital album #1 – <mask> and ClareMoore 2020 digital album with Robin Casinader – IN CONCERT. 2020 digital album #2 – <mask> and ClareMoore 2020 digital album with Georgio "the dove" Valentino and Malcolm Ross. 2021 digital album release – <mask> and the mistLY – 2021 digital album – LYVE AT BYRDS

2021 physical album release – <mask> and Clare Moore 2021 album released on CD through Cockaigne. EVERYTHING WAS FUNNY.Other Performances
<mask> has played at the Big Day Out Festival on many occasions, as well as the Livid festival and the Falls Festival. He performed on the TV shows Recovery, Nomad, Smash Hits, Live and Sweaty, Denton, Midday with Kerry Anne, Jimeoin, Shaun Micallef's Micallef Tonight, Mornings with Bert Newton, AM with Denise Drysdale, Sale of the Century, The Games, RocKwiz, Spicks and Specks, Australia's Dumbest Musician, Neighbours (two-episode story), Review, and Roy and HG's Club Buggery (1996–1997). He wrote a lyric book, It Is Written, Baby (1997). With Moore, he composed and performed the score of the movie Bad Eggs (2003), and for Mahony's short film Ray (2005). <mask> contributed music to and played a small (musical) part in Stone (2004), a stage production of the 1960s British play. In September 2013, <mask> also sang on Nick Harper's CD (Riven) on a track called "The Beginning is Nigh". Bibliography

<mask>, <mask> (2017).Workshy: My Life As A Bludge. Mulgrave, Vic: Affirm Press. Discography

Albums
The Moodists
 Thirsty's Calling – Red Flame (206 308) (April 1984)
 Double Life – Red Flame (RFM 44) (1985)
 Two Fisted Art (1980 -1986) – W. Minc (WMINCD027) (2003)

<mask> with the White Buffaloes
My Life on the Plains – Fire Records (FIREUS3-1) (1989)

<mask> 'n' the Coral Snakes (aka <mask> with the Coral Snakes)
 I Was the Hunter... and I Was the Prey – Fire Records (FIRE11029, FIRE 33029) (May 1992)
 The Lure of the Tropics – Torn & Frayed Records (TORN CD!) (July 1992)
 Night of the Wolverine – Mercury Records (5321292) (April 1993)
 You Wanna Be There But You Don't Wanna Travel – Mercury Records (5223812) (June 1994) AUS No. 10
 The Soft 'n' Sexy Sound – Mercury Records (5284162) (17 July 1995) AUS No. 36
 Also packaged into a limited-edition box set with a 'best of' disc (in its own separate case):   The Soft 'n' Sexy Sound | Simply The Best 'El Supremo – Id (PolyGram)/Mercury  (5284162) (5284162) (25 November 1996)
 The Devil Drives – Mercury Records (5348032) (May 1997) AUS No. 81
 "You Wanna Be Loved" – Mercury (8561212) (August 1994)
 "I'm Going to Live in My Own Big World" – Mercury (8527042) (1995)
 "I'm Not Afraid to be Heavy" – Mercury (8520452) (1995)
 "Rock'n'Roll is Where I Hide" – Mercury (8523192) (1995)
 "You're Just Too Hip, Baby" – This Way Up (WAY4833) (1996)
 "Three Dead Passengers" – This Way Up (WAY5133) (1996)
 "Feelin' Kinda Sporty" – Mercury (5743162) (April 1997) AUS No.78
 "A Man on the Make" – Mercury (5747252) (September 1997)

The <mask> Show
 "Your Masters Must Be Pleased With You" – Festival (February 1999)
 "Drugs are Wasted on the Young" – Cockaigne (COCK001) (February 2000)
 "Out of the Loop" – Cockaigne (COCK003) (12 June 2000)
 "Have You Heard About the Melbourne Mafia?" – Cockaigne (COCK004) (25 September 2000)
 "Are We Going Too Fast For Love?" – Cockaigne (COCK006) (2002)
 "Midnight to Dawn" – Cockaigne (COCK007) (August 2003)
 "All Our Friends Were Stars" – Cockaigne (COCK009) (2004)

The Lurid Yellow Mist featuring <mask> and Clare Moore
 "68 Babe (name, Rank and Rock Scene)" - Re-action Recordings (29 October 2007)
 "I'm in the Future Now" - Independent (8 November 2007)

<mask> and Clare Moore FILM COMPOSERS

The Soundtrack to the feature movie BAD EGGS (written and directed by Tony Martin) 2003
Soundtrack to the short film RAY (written and directed by Tony Mahony) 2004. Several art documentaries for the ABC’s series called Paying It Back (art mentorship in action) 2006-8. Death of a Chook –  feature film by Robert Gibson (2009) . Johnny Ghost (2015) and Lost Gully Road (2017) by Donna McRae. Clare Moore also contributed the theme tune to Tony Martin's TV show, A Quiet Word With, in 2010.<mask> wrote and performed the music to the play STONE at a VCA production in 2004. Studio production work
Recording and mixing
 The Darling Downs
How Can I Forget This Heart of Mine? (2005)
 From One to Another (2007)
 Jane Dust
A Spray of Red From the Deep (2008)

Mixing
Kaye Louise Patterson
 International Travel (2007)

Awards and nominations

ARIA Awards
The ARIA Music Awards are presented annually from 1987 by the Australian Recording Industry Association (ARIA). <mask> and <mask> 'n' the Coral Snakes have won two awards from nine nominations. <mask> and Clare Moore inducted into the South Australian Music Hall of Fame in Adelaide December 2019. Notes

References

General

Specific

External links
<mask> & Clare Moore official website
 Rolling Stone Australia writing about the 2021 album Everything Was Funny. UK blog Different Noises in regard to 2021 album EVERYTHING WAS FUNNY .Your Music Radar writing about Zippa DeeDoo What Is/Was That/This? from 2019.
i94bar interview
http://davegraney.blogspot.com.au/
 Interview with <mask> and Clare Moore in regard to the Moodists https://web.archive.org/web/20160404171650/http://messandnoise.com/icons/4576645
 Audio interview with <mask> http://www.abc.net.au/local/stories/2011/06/21/3249377.htm
 Interview with <mask> from Melbourne 2013: http://www.theage.com.au/entertainment/music/early-sitting-for-a-journey-to-the-past-20130617-2oebz.html
 Podcast of conversation between <mask> and musician Lisa Gerrard across both their careers. APRA event June 2016
 Extensive Depth Perception Podcast two hour  interview with <mask> conducted in Sydney 2015
Interview with <mask>ey by UK podcaster David Eastaugh (C86) focussing on the 80s Moodists period. 1959 births
Living people
Musicians from Melbourne
ARIA Award winners
Australian musicians
People from Mount Gambier, South

masks:
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Dave Graney
Dave Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Graney
Dave Graney
Dave Graney
Dave Graney
Graney
Dave Graney
Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Gran
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Graney
Graney
Graney
Graney
Dave
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Graney
Dave Gran


texts:
<mask>") <mask> (born 17 April 1947) is an American academic who specializes in Old English poetry; he is an emeritus professor at the University of Alabama. He is the author of Allegories of War: Language and Violence in Old English Poetry (1989), and an early proponent of the application of postmodern critical theory to Old English poetry, especially allegorical poems, to investigate the "intersection of spirituality and violence". The book was marked as a "turning-point in criticism of Old English poetry". <mask> is also a well-known critic of the Greek system at the University of Alabama, described by one journal as leading a "one-man crusade...to abolish what he calls an 'apartheid greek system'". Biography
<mask> is a 1973 graduate of the University of Illinois, and became professor of Old English language and literature at the University of Alabama in 1974, where he spent his entire academic career. With his colleague <mask> he edited a volume on Geoffrey Chaucer, the proceedings of a 1977 conference held at the University of Alabama (Signs and Symbols in Chaucer's Poetry, 1981), and he wrote a monograph on spiritual warfare in religious Old English poetry (Allegories of War: Language and Violence in Old English Poetry, 1989). A former track athlete, he was an adjunct track coach for the university.<mask> is also a well-known, longtime critic of the university's Greek system, which has drawn national attention for its long history of de facto segregation. <mask> considers the Greek system as profiting from "taxpayer-supported segregation". In 1991, he headed one of the committees charged with establishing an accreditation system for the university's fraternities and sororities; the new guidelines charged the organizations with helping to strive toward a more diverse campus, though <mask>'s committee had called for stronger language: "white Greek chapters must admit black and international members and vice versa". By 2001, however, The Journal of Blacks in Higher Education concluded that the guidelines had achieved nothing, and that not a single black student had ever been accepted by a white fraternity or sorority (there had been "a few white members" in black fraternities, it noted). <mask>, disappointed by what he perceived as inaction on the part of university president Andrew Sorensen, was prepared to go to court in a civil suit, and called on the university that they demand that white Greek organizations "accept a black member or be told to leave the university grounds" (the article noted that the Greek houses occupy university-owned land, which they rented for $100 per year—an annual "fair market rental value" for the real estate would add up to $600,000). In 2002, he supported black student Melody Twilley in her attempt to join a white sorority (he did so in 1996 already, for two black students who in the end decided not to rush); she was twice denied and drew national attention for her efforts: "She's bright, she's attractive, she's a member of the upper class,' <mask> says. In other words, someone whose exclusion could only be explained by race", wrote Jason Zengerle of The New Republic.Twilley was rejected by all fifteen sororities she applied to, to the dismay of Dean E. Culpepper Clark; <mask> commented, "Most students here are not racist at all...but now we're going to be seen as a racial disaster area". Allegories of War
Allegories of War was <mask>'s doctoral dissertation, and chapters of it were published as articles before the book was published by the University of Michigan Press in 1989. Taking the concept of psychomachia, "literature based on the premise of personified abstractions in combat", as a starting point, <mask> traces the reception of the Psychomachia by <mask> and other allegorical texts in Old English literature, examining the influence of the tradition of spiritual warfare in various religious texts. The second part of the book subverts the traditional allegoresis as a standard method in Old English studies, and investigates how "spiritual violence...is complicitous with social violence" in such texts as Elene, Andreas, and Judith. Psychoanalysis and postmodern theory (including the work of Sigmund Freud and Jacques Lacan) are combined to bear on literary texts and the history that produced them. In Judith, for instance, <mask> reads the decapitation of Holofernes not just as a symbolic castration but also allegorically, as Christian abnegation of the self, but also tropologically, as signifying the disclipining of especially sexual desire within a group, a notion he relates to the poem's monastic provenance. <mask>'s critique of "previous allegorical approaches" is still cited in Old English studies.In addition, <mask> takes aim at the reigning methods in Old English scholarship of the time, especially exegesis and the New Criticism, by examining the "sublation", his translation of the Hegelian term Aufhebung, the "subsuming of one term in a binary pair (devil/church, foreign evil/soldier of Christ) by the other in an operation that both negates and conserves the former (suppressed) concept". One of the goals of his analysis is to uncover the literal violence sublated in the poetic accounts of spiritual warfare: "in <mask>'s view, traditional exegetical and formalist readings have had the effect of obscuring a real (and reprehensible) commitment to violence and terror as instruments of forced cultural conversion in the early Middle Ages". This critical stance was taken within the profession as evidence that "the armies of modern critical theory stand at the gates of one of the last bastions of traditional philological discourse", in a book whose "discursive content is explicitly intended to serve a larger purpose—the dismantling of an established philological tradition which rests on the ideological alliance of modern exegesis and New Criticism". The book received very mixed reviews. Joseph Harris, in a review for Speculum, was not convinced by its supposed "efforts at a high-level Marxist historical analysis" and thought its deconstructionist theme "least satisfactory". Martin Irvine, in the South Atlantic Review, called it "an important contribution to current discussions of theory and method in Old English studies", to be read "profitably alongside other recent studies on Old English literature and critical practices by scholars such as Gillian Overing and Allen Frantzen". References

1947 births
Living people
Anglo-Saxon studies scholars
Place of birth missing (living people)
University of Alabama faculty
University of Illinois alumni

masks:
John Patrick ( Pat
Hermann
Hermann
Hermann
John Burke
Hermann
Hermann
Hermann
Hermann
Hermann
Hermann
Hermann
Hermann
Prudentius
Hermann
Hermann
Hermann
Hermann


texts:
<mask> (born 1981) is an English folk singer, multi-instrumentalist and record producer. Recording artist
While studying classical composition at the Birmingham Conservatoire, <mask> released the home-recorded I Am Jim Moray EP. During 2002 he appeared at the Glastonbury festival and the Cambridge Folk Festival gaining notice in the music press. A nomination for the "Horizon Award" at the BBC Radio 2 Folk Awards 2003 followed before he began work on his first full-length album, Sweet England. The album was recorded in his bedroom while completing his final year of study. Sweet England was released in June 2003 on his own Niblick Is A Giraffe record label. At the BBC Radio 2 Folk Awards in 2004 he was presented with the Album of the Year Award for Sweet England and the Horizon Award for best newcomer.He was also nominated twice in the Best Traditional Song category for Early One Morning and Lord Bateman. <mask> recorded and released the single Sprig of Thyme in May 2004, and in the autumn appeared on the Oysterband's Big Session Volume 1 album. This gained yet more Folk Award nominations in 2005, including one for Cuckoo's Nest, which was sung, produced and mixed by <mask>. After a long gestation period, <mask>'s eponymous second album was released on 1 May 2006. Moving away from the electronic sound of Sweet England it features a more orchestral sound and denser song structures. On 6 July 2007, The Independent featured Sweet England in its "Cult Classic" series, affirming its impact and influence on the modern folk scene. <mask>'s third album, Low Culture, was released on 14 July 2008.On this album <mask> makes use of African kora, the melodeon and mandolin and mbira thumb-piano. Low Culture won the fRoots Critics Poll Album of the Year 2008 and was also the MOJO Folk Album of the Year 2008. It was also nominated for the Album of the Year Award in the BBC Folk Awards 2009. On 1 February 2010 it was announced that <mask>'s fourth album In Modern History would be given away as a covermount CD with the June edition of Songlines magazine, with a street date of 30 April 2010. It was also announced that the album would be available in a deluxe box set and standard editions on 7 June 2010. <mask>'s fifth studio album Skulk was released on Bandcamp with no build-up or warning in January 2012 going straight to number 1 on the Bandcamp chart. It received a full release on 9 April 2012.<mask> received three nominations in the BBC Radio 2 Folk Awards for Best Album, Folk Singer of the Year and Best Traditional Track (for Lord Douglas), winning the latter category. Along with singer and guitarist Sam Carter, in 2014 <mask> launched a new band named False Lights to play traditional music with electric instruments. Their album Salvor, produced by <mask>, was released in February 2015 and they announced headline shows at Folk East, Trowbridge Village Pump and Homegrown festivals. <mask>'s sixth album Upcetera was released on September the 30th 2016, featuring orchestral arrangements blended with electric rhythm section, electronic soundscapes and, on several tracks, viol played by Damon Albarn and Nico Muhly collaborator Liam Byrne. It was nominated for Best Album and Best Original Track for Sounds Of Earth at the 2017 BBC Radio 2 Folk Awards, at which he also performed the opening track Fair Margaret And Sweet William. On <mask>'s seventh album The Outlander he explored a more stripped down style of playing and arranging influenced by the British folk revival of the 1960s and 70s and featuring Bellowhead fiddle player Sam Sweeney on six tracks. It was released on 11th October 2019 and was <mask>'s first album to be released on vinyl as well as CD and download.Producer
Aside from all of his own albums <mask> has produced other artists, initially from his own studio in Bristol profiled in a Sound on Sound feature in 2006. <mask> produced and mixed the track "The Cuckoo's Nest" for the Oysterband Big Session in 2004. This was a live album, recorded over two nights, featuring a similar line-up to the tour he took part in in 2003. The track was nominated in the BBC Folk Awards that year. During 2005 <mask> produced and performed on James Raynard's debut album Strange Histories, released in September 2005 on One Little Indian records. In 2008 he wrote and produced the song The Wishfulness Waltz for his sister Jackie Oates' second album The Violet Hour, as well as playing all the instruments on the track. He subsequently produced and mixed her third album Hyperboreans which was released in September 2009 and nominated for three BBC Radio 2 Folk Awards (including best album), and MOJO magazine's top folk albums of 2009.In 2015 he produced and mixed her sixth album "The Spyglass And The Herringbone" as well as co-writing the majority of the tracks. <mask> produced and mixed the debut album Roodumdah by Kent-based folk-rock band Wheeler Street in autumn 2008. In 2010 he produced and mixed Find The Lady by Belshazzar's Feast. In 2014 he produced and mixed the second album by singer and songwriter Maz O'Connor, This Willowed Light. They worked together again on her third album The Longing Kind. In the same period he also produced the debut album by London folk band Tir Eolas, Stories Sung, Truths Told. <mask> produced Salvor, the debut album by False Lights – his collaboration with Sam Carter, in 2015.The band released Harmonograph, a second album also produced by <mask> in 2018. <mask> produced Art Brut's fifth album Wham! Bang! Pow! Let's Rock Out!, after previously collaborating with lead singer Eddie Argos on the lo-fi musical The Islanders at the Edinburgh Fringe in 2013. The album was released by Alcopop! Records in 2018.Live performer
<mask>'s early live shows frequently featured video projections and lighting effects, something relatively uncommon in British folk music. During 2001–2003 <mask> played as a solo performer, becoming well known for using a laptop and loop pedals live. After the release of Sweet England in 2003, he began playing with a variety of accompanying musicians, notably drummer Laurence Hunt. This flexible line-up toured extensively as an electric band, with <mask> playing electric guitar and supplemented by samples and sequences from laptops onstage. Following the <mask> album, during 2007–2008 Moray's line-up solidified around a core of melodeon player Nick Cooke and violinist James Delarre, frequently performing as an acoustic trio before eventually adding drummer William Bowerman in 2008. Bowerman left the band in summer 2009 to join electro-pop act La Roux and was replaced by Dave Burbidge. After puncturing both lungs, Cooke was replaced by Saul Rose for some festival appearances in summer 2009.In 2012 <mask> toured with an expanded "Skulk Ensemble" to play the Skulk album live, with added brass, bass and his sister Jackie Oates on backing vocals. In November 2013 <mask> staged a 10th Anniversary Performance of his first album Sweet England at the Union Chapel in Islington, London featuring a string section and special guests including Bella Hardy, Jackie Oates, Keston Cobblers Club and Maz O'Connor. In 2017 <mask> assembled a 10-piece band featuring strings, woodwind and an electric rhythm section to play the music from his Upcetera album on tour. This line up was invited to close the show at the 2017 BBC Radio 2 Folk Awards held at the Royal Albert Hall. As an opening act or collaborator, <mask> has toured with Oysterband, Eliza Carthy, Billy Bragg, Richard Thompson, Ani Di Franco, Bellowhead, The Cecil Sharp Project and John McCusker. He also performed as Orpheus in Anaïs Mitchell's folk opera, Hadestown in January 2011 at the Union Chapel in London. In 2012 <mask> wrote and performed music for the Bristol Old Vic produced show The Islanders, a collaboration with Art Brut frontman  Eddie Argos, and writer and performer Amy Mason.Discography

Performer
I Am <mask> (EP) (2001)
Sweet England (2003)
Sprig of Thyme (single) (2004)
<mask> (2006)
Barbara Allen (vinyl single) (2006)
Low Culture (2008)
Lucy Wan (single) (2009)
In Modern History (2010)
A Beginners Guide (compilation) (2010)
Big Love (single) (2011)
Skulk (2012)
Upcetera (2016)
The Outlander (2019)

Producer or guest musicianGlance – Rose Kemp (piano and programming) (2003); Rose Kemp later provided additional vocals for the album Jim MorayBig Session Vol. Bang! Pow! Let's Rock Out! - Art Brut (production/mixing) (2019)Vivaldi Sleep – Orchestra Of The Swan (vocals, arranging) (2021)Labyrinths'' – Orchestra Of The Swan (vocals, arranging) (2021)

References

External links
www.jimmoray.co.uk
 <mask> video interview

English folk musicians
Living people
1981 births
Alumni of Birmingham Conservatoire
English folk singers
21st-century multi-instrumentalists

masks:
Jim Moray
Moray
Moray
Moray
Moray
Jim Moray
Jim
Jim Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Moray
Jim Moray
Moray
Moray
Moray
Moray
Moray
Jim Moray
Jim Moray
Jim Moray


texts:
<mask> (born 1967, in Wellington) is a contemporary New Zealand jeweller. Education and training in New Zealand

<mask> graduated from Otago Polytechnic, Dunedin, in 1988 with a Certificate in Craft Design. In Dunedin her tutors included German-trained jeweller Georg Beer and Swiss-trained jeweller Kobi Bosshard. After completing her studies, <mask> moved to Auckland, where along with Areta Wilkinson, Anna Wallis and Helen O'Connor she established the jewellery workshop Workshop 6. Training and work in Germany

In 1995 <mask> moved to Germany, and from 1995 to 2001 studied under jeweller Otto Kunzli at the 'Klasse Kunzli' at the Akademie der Bildenden Künste München in Munich. In Munich, <mask> established a successful international career as a jeweller, including being recognised with the 2010 Françoise van den Bosch Award for "work of an outstanding quality that influences and appeals to younger generations of artists internationally". In 2009 <mask> returned to Wellington with her partner, jeweller Karl Fritsch.Work

<mask>'s work "questions conventional concepts about jewellery's beauty and wearability" by using second-hand items and materials found in hobby stores, as well as non-traditional techniques such as glueing materials together. Materials she has incorporated into her jewellery include rubber bands, wood dowelling, sequins, tape, leather, paua shell veneer, stuffed toys, artificial grass, freshwater pearls, steel, lacquer and fabric. Art historian Dionea Rocha-Watt observes that <mask> "may have abandoned some traditional skills but is still referencing the history of jewellery, with a great sense of colour and composition." In a review of a 2015 exhibition of <mask>'s work, art critic Warren Feeney wrote:

Over the past 20 years, <mask> has played a critical role in the development of contemporary jewellery in New Zealand and internationally, making work that confronts familiar perceptions about what a precious object might be. This ability to pose question after question about the possibilities of her work is apparent, not only in her comments about individual pieces, but equally in the range of materials, subjects, processes and scale of her jewellery. In 2015 <mask> joined the photo-sharing website Instagram. She has noted that the site provides a "huge hunting ground" for inspiration, and that currently she draws more from imagery she finds online than on objects in the physical world for starting points for her own making.She has also collaborated with performance art/music group Chicks on Speed, initially when she met the participants while studying in Germany, but also in shows in New Zealand, contributing pieces from unused costumes, or works specifically created for performances. A recent work by <mask> made of pieces of pounamu was included as an illustration in New Zealand historian Barbara Brookes' A History of New Zealand Women as an example of how contemporary New Zealand jewellery reflects a sense of place. Process

In a 2008 interview <mask> said:

I work on several ideas and pieces at once, and don't prepare for exhibitions − I show where I'm at, at that particular time. Sometimes I work with an idea, sometimes with a certain material. Sometimes an influence repeats itself in pieces over a few years, sometimes one piece is sufficient. Contemporary craft writer Andre Gali suggests that since her time as a student in Germany, <mask> has engaged with the concept of 'deskilling':

With her background as a goldsmith, we can imagine that <mask> could easily engage with the values and aesthetics of “doing something well.” However, deskilling and the use of readymades shift the value of the work away from craftsmanship—even though that is important as well—toward an artistic sensibility.Art historian Maya Love has commented on <mask>'s documentary process, stating that the artist "photograph[s] each piece against a white or grey background. She admits to hoarding materials now inclusive of digital imagery saved on social media or an Etsy wishlist."Collections and exhibitions

Her work is held in a number of public collections, including the Auckland War Memorial Museum, the Museum of New Zealand Te Papa Tongarewa, The Dowse Art Museum and the National Gallery of Victoria, Melbourne. Significant exhibitions include:

2009 Her Last Show Made in Munich, Nurnberg Museum of Art and Design, Germany
 2010 <mask> – Unwearable at Objectspace
2011 Wearable at the Cobra Museum of Modern Art, Netherlands
2013 Touch Me Baby I'm Bodycentric, A Multimodalplosion! with Chicks on Speed at City Gallery Wellington
2015 Love and Technique (with Karl Fritsch), Rosemarie Jäger Gallery, Hochheim
2015 Anna's Best Friend is Russian Bob's Mother, The National, Christchurch
2015 One Week Exhibition, Platina, Stockholm
2016 The End, Galerie Biro, Munich; 0 + 0 = 0, Christchurch Art Gallery
2018 <mask>: I want to go to my bedroom but I can’t be bothered, a survey exhibition of <mask>'s work, part of the suite of exhibitions marking the opening of the Museum of New Zealand Te Papa Tongarewa refurbished art galleries. For the 2018 Te Papa Tongarewa exhibition I want to go to my bedroom but I can’t be bothered, a guide co-authored by Isaac du Toit and Megan du Toit was produced. A Children’s Guide to the Jewellery (and Art) of <mask> showcased <mask>'s 30-year exploration of what "Jewellery" can be. In her 2021 iteration of the same exhibition at Te Uru Waitakere Contemporary Gallery, <mask>: She wants to go to her bedroom but she can't be bothered, "over 250 pieces [were] carefully displayed over gallery spaces that each loosely encompass[ed] a significant chapter in her career." Like the Te Papa Tongarewa exhibition, it was an ambitious retrospective looking at the artist’s 30-year career as a pioneer of contemporary jewellery.<mask>'s work was included in Collecting Contemporary (2011–2012)and Bone Stone Shell (2013–2014) at the Museum of New Zealand Te Papa Tongarewa. She was also included in Wunderrūma: New Zealand Jewellery, a touring exhibition that showed at Galerie Handwerk in Munich, The Dowse Art Museum and Auckland Art Gallery. For the Obstinate Object exhibition of contemporary sculpture at City Gallery Wellington in 2012 <mask> contributed a site-specific piece called BROOCH, where a brooch fastening and steel safety chain were affixed to a gallery ceiling, suggested a visitor could 'wear' the building. In 2015 <mask> presented a guest lecture on her past and current work at Nordiska museet, Stockholm, co-organised by Konsthantverkscentrum, the Röhsska Museum for Arts, Crafts, Design and Fashion, and The School of Design and Crafts under the Iaspis programme. Recognition

2007 Förderpreis der Stadt München (City of Munich scholarship)
2009 Francoise van den Bosch Award
2015 Laureate Award, Arts Foundation of New Zealand. References

Further reading

External links
 www.lisawalker.de
 Video interview with <mask>, Museum of New Zealand Te Papa Tongarewa
Victoria Wynne-Jones, Attuning to People, Places and Things: Neck Adornment and Contemporary Art, The Pantograph Punch, 1 June 2018
 Interview with <mask>, Standing Room Only, Radio New Zealand, 28 January 2018
Video interview with <mask> from the Jewellery Conversations series
Video interview with Lisa Walker Arts Foundation of New Zealand, 2015
Keriane Quick, <mask>: Put a cord on it, Art Jewelry Forum, 7 December 2011
 Eléna Gee, 'Open Heart: Contemporary New Zealand Jewellery', Lower Hutt: The Dowse Art Museum, November 1993. 1967 births
Living people
New Zealand artists
New Zealand jewellers
People from Wellington City
Otago Polytechnic alumni
New Zealand women artists

masks:
Lisa Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Walker
Lisa Walker
Lisa Walker
Walker
Lisa Walker
Lisa Walker
Lisa Walker
Walker
Walker
Walker
Lisa Walker
Lisa Walker
Lisa Walker
Lisa Walker


texts:
<mask> (born 5 October 1976) is a former professional Australian rules footballer who played for the Melbourne Football Club and Greater Western Sydney Giants in the Australian Football League (AFL). AFL career

Nicknamed "Junior", <mask> is the brother of former AFL players <mask> and <mask>. He is noted as a hard working in and under midfielder. In addition to this, he is also used as a tagger. In 1995, <mask> suffered from chronic fatigue syndrome with his VAFA side Old Xaverians. He debuted in the AFL in 1997 with the Melbourne Football Club after being promoted off the Rookie list. <mask> had one of his most consistent years in 2006, being named on the interchange bench in the All Australian side and the only Demons player to make this list in that year.He laid a league high and record high 143 tackles during season 2006, breaking the previous record held by Tony Liberatore (although Brett Kirk would break <mask>'s record the following season), and capped off the season with a win in Melbourne's Best and Fairest. <mask> also played in the International Rules Series in 2006. <mask> won the Melbourne best and fairest in 2007 for the second time. <mask> played his 200th game in a loss to the Western Bulldogs in round 2, 2008. He was part of the Demons' Leadership Group, along with Cameron Bruce, Russell Robertson, Adem Yze and Brad Miller and was named co captain alongside Bruce in the absence of skipper David Neitz. However, after Neitz announced his retirement, no captain has been selected yet. After the 2008 Home & Away Season, <mask> signed a one-year deal to continue playing with Melbourne.On 11 January 2009, the Herald Sun reported that <mask> would captain the club in 2009. <mask> kicked his 50th goal in the 2009 season. <mask> signed another one-year extension that would see him to the end of the 2010 season. He also broke the record for the most games by a Rookie Listed player (238). On 20 August, <mask> announced that he would retire at the end of the end of the 2010 season, saying he felt he could have played on for another year, but that the club came first and the club's decision was for him to retire at the end of the season. <mask> played for his old side, Old Xaverians in the Victorian Amateur Football Association, while also working with 's Melbourne-based players in a development role. At the end of 2011, <mask> signed a one-year contract with Greater Western Sydney.During the 2012 season, he was a playing assistant coach for the Giants. In his first game for the club, <mask> copped a two-game suspension for engaging in rough conduct on Sydney Swans player Luke Parker; ironically, he had served as a member on the Match Review Panel in the previous season. Statistics

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 1997
|style="text-align:center;"|
| 54 || 4 || 3 || 1 || 26 || 12 || 38 || 5 || 6 || 0.8 || 0.3 || 6.5 || 3.0 || 9.5 || 1.3 || 1.5
|-
! scope="row" style="text-align:center" | 1998
|style="text-align:center;"|
| 23 || 22 || 10 || 12 || 158 || 81 || 239 || 52 || 20 || 0.5 || 0.5 || 7.2 || 3.7 || 10.9 || 2.4 || 0.9
|- style="background:#eaeaea;"
! scope="row" style="text-align:center" | 1999
|style="text-align:center;"|
| 23 || 15 || 5 || 11 || 120 || 58 || 178 || 26 || 23 || 0.3 || 0.7 || 8.0 || 3.9 || 11.9 || 1.7 || 1.5
|-
! scope="row" style="text-align:center" | 2000
|style="text-align:center;"|
| 23 || 17 || 7 || 6 || 137 || 100 || 237 || 46 || 38 || 0.4 || 0.4 || 8.1 || 5.9 || 13.9 || 2.7 || 2.2
|- style="background:#eaeaea;"
!scope="row" style="text-align:center" | 2001
|style="text-align:center;"|
| 23 || 15 || 3 || 3 || 162 || 94 || 256 || 58 || 41 || 0.2 || 0.2 || 10.8 || 6.3 || 17.1 || 3.9 || 2.7
|-
! scope="row" style="text-align:center" | 2002
|style="text-align:center;"|
| 23 || 20 || 2 || 4 || 176 || 124 || 300 || 59 || 58 || 0.1 || 0.2 || 8.8 || 6.2 || 15.0 || 3.0 || 2.9
|- style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2003
|style="text-align:center;"|
| 23 || 21 || 4 || 4 || 230 || 210 || 440 || 106 || 84 || 0.2 || 0.2 || 11.0 || 10.0 || 21.0 || 5.0 || 4.0
|-
! scope="row" style="text-align:center" | 2004
|style="text-align:center;"|
| 23 || 18 || 3 || 4 || 213 || 122 || 335 || 76 || 76 || 0.2 || 0.2 || 11.8 || 6.8 || 18.6 || 4.2 || 4.2
|-style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2005
|style="text-align:center;"|
| 23 || 21 || 2 || 5 || 197 || 132 || 329 || 77 || 70 || 0.1 || 0.2 || 9.4 || 6.3 || 15.7 || 3.7 || 3.3
|-
! scope="row" style="text-align:center" | 2006
|style="text-align:center;"|
| 23 || 24 || 6 || 7 || 301 || 254 || 555 || 115 || 143 || 0.3 || 0.3 || 12.5 || 10.6 || 23.1 || 4.8 || 6.0
|-style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2007
|style="text-align:center;"|
| 23 || 21 || 3 || 4 || 263 || 226 || 489 || 90 || 131 || 0.1 || 0.2 || 12.5 || 10.8 || 23.3 || 4.3 || 6.2
|-
!scope="row" style="text-align:center" | 2008
|style="text-align:center;"|
| 23 || 19 || 1 || 3 || 194 || 185 || 379 || 83 || 88 || 0.1 || 0.2 || 10.2 || 9.7 || 19.9 || 4.4 || 4.6
|-style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2009
|style="text-align:center;"|
| 23 || 18 || 2 || 2 || 177 || 171 || 348 || 83 || 87 || 0.1 || 0.1 || 9.8 || 9.5 || 19.3 || 4.6 || 4.8
|-
! scope="row" style="text-align:center" | 2010
|style="text-align:center;"|
| 23 || 16 || 5 || 1 || 182 || 178 || 360 || 49 || 119 || 0.3 || 0.1 || 11.4 || 11.1 || 22.5 || 3.1 || 7.4
|-style="background:#eaeaea;"
! scope="row" style="text-align:center" | 2012
|style="text-align:center;"|
| 38 || 13 || 4 || 3 || 100 || 97 || 197 || 31 || 67 || 0.3 || 0.2 || 7.7 || 7.5 || 15.2 || 2.4 || 5.2
|- class="sortbottom"
! colspan=3| Career
! 264
! 60
!70
! 2636
! 2044
! 4680
! 956
! 1051
! 0.2
!0.3
! 10.0
! 7.7
! 17.7
! 3.6
! 4.0
|}

References

External links

Melbourne Football Club players
1976 births
Living people
People with chronic fatigue syndrome
All-Australians (AFL)
Australian rules footballers from Victoria (Australia)
Keith 'Bluey' Truscott Trophy winners
Melbourne Football Club captains
Old Xaverians Football Club players
Greater Western Sydney Giants players
People educated at St Patrick's College, Ballarat
Australia international rules football team players

masks:
James McDonald
James
Anthony McDonald
Alex McDonald
McDonald
McDonald
McDonald
McDonald
McDonald
McDonald
James
McDonald
McDonald
McDonald
McDonald
McDonald
McDonald
McDonald


texts:
<mask> is a Mexican public official, lawyer and academic from Durango, Mexico. <mask> has a long trajectory inside the Mexican government, having worked in every Mexican federal administration since Ernesto Zedillo and received presidential appointments both from Andrés Manuel López Obrador and Enrique Peña Nieto. From December 1, 2018, until May 15, 2020, he served as National Commissioner at the Commission for Better Regulation. From February 5, 2014, until November 21, 2017, he served as Deputy Secretary of Energy for Electricity at Mexico's Department of Energy. Early life
<mask> holds two law degrees from UNAM, Licenciatura en Derecho (LLB, 1989), and Doctorado en Derecho (SJD, 2007). He also holds a Master of Arts in Law and Diplomacy (MALD, 1994) from the Fletcher School of Law and Diplomacy. He has served as National Commissioner at the National Commission for Better Regulation (by Presidential appointment); Head of the Planning, Institutional Relations and International Affairs Unit, at the Federal Economic Competition Commission; Deputy Secretary of Energy for Electricity, at the Ministry of Energy (by Presidential appointment); General Counsel of the Ministry of Energy; General Director of Foreign Trade at the Ministry of Economy; General Director at the Office of the General Counsel of the Federal Executive; and General Director for Long Distance Telephone Services at the Federal Commission of Telecommunications.Director General for Foreign Trade, at the Ministry of Economy
As Director General for Foreign Trade and President of the Foreign Trade Commission (COCEX). Mr. Hernandez led the Single Window for International Trade Project (Ventanilla Única de Comercio Exterior, VUCEM), together with Customs Mexico. It was the first large project that constructed a single electronic system to process customs and foreign trade authorizations in Mexico. The Single Window was launched by President Felipe Calderón together with Bruno Ferrari, Secretary of Economy, on January 16, 2012. Mr. Hernandez also coordinated the development of Mexico’s regulatory system for export controls. Together with officials from the Ministry of Foreign Affairs, Mr. Hernandez negotiated the accession of Mexico to the international export controls systems, the Wassenaar Arrangement on Export Controls for Conventional Arms and Dual-Use Goods and Technologies, the Australia Group, and the Nuclear Suppliers Group. On January 20, 2012 Mexico was admitted to the Wassenaar Arrangement.Deputy Secretary of Energy for Electricity, at the Ministry of Energy
Mr. Hernandez was a leading figure in the 2013-2014 Mexican Energy Reform. Initially he served as Chief Legal Counsel at the Ministry of Energy on February 1, 2013, and as Secretary of the Board of Directors of Petróleos Mexicanos (Pemex) and Secretary of the Governing Board of Comisión Federal de Electricidad (CFE). He served on those positions for one year. On February 5, 2014, he was appointed Deputy Secretary of Energy for Electricity by President Enrique Peña Nieto. As Deputy Secretary of Electricity between 2014 and 2017 he coordinated the design and implementation of the most comprehensive legal and regulatory reform in the power sector of Mexico since 1938, creating the wholesale electricity market, establishing an independent system operator, unbundling Mexico’s national electric utility (CFE), and designing clean energy certificates to enforce the national clean energy goals for the sector. Furthermore, he led the team that designed and implemented the first three long-term power auctions for renewable energy that resulted in some of the lowest solar and wind electricity prices in the world in 2016 and 2017. During his four-year tenure as Mexico´s Deputy Secretary of Energy for Electricity, <mask> and his team at the Ministry of Energy worked in the implementation of Mexico’s 2013 Constitutional Energy Reform.Among others, four new laws directly related to the electricity sector were published, and the Ministry of Energy electricity technical team coordinated by Dr. <mask> was instrumental in its drafting: the Electricity Industry Law and the Geothermal Energy Law, the Law of the Federal Electricity Commission, and the Energy Transition Law. Creation of Mexico’s First Electricity Markets
Additionally, during Dr. <mask>’ tenure as Deputy Secretary, the Ministry of Energy wielded regulatory powers for the creation of a new Wholesale Electricity Power Market that would latter by transferred to independent regulatory bodies (the Energy Regulatory Commission, CRE; and the National Center for Energy Control, CENACE). The 2014 Electricity Industry Law gave the Ministry of Energy powers to “issue the first Electricity Power Market Rules on one sole occasion”. Accordingly, several regulations were published as part of the first Electricity Power Market Rules. In this matter, the Secretary of Energy published the Bases of the Electricity Market (September 8, 2015) along with several manuals. Creation and Implementation of Mexico’s first Renewable Portfolio Standard
In the matter of transition to clean energies, during Dr. Hernandez’s tenure the Ministry of Energy published the Guidelines that establish the criteria for the granting of Clean Energy Certificates and the requirements for their acquisition (October 31, 2014), and the Clean Energy Certificate Mandatory Requirements for 2018, 2019, 2020, 2021 and 2022. Independent Long Term Planning of Electricity System Development
The Electricity Industry Law established that the Ministry of Energy would publish, each year, 15 year programs for the development of the Mexican electricity system (formerly planning was professional, but not independent, done by the national electric utility, CFE).In the matter of electricity system planning, during Dr. <mask>’s tenure the Ministry published the first three Programs for the Development of the National Electricity System (PRODESEN), the 2015-2029 PRODESEN, the 2016-2030 PRODESEN and the 2017-2031 PRODESEN. Additionally, it published the 2017 Smart Grid Program. Universal Access to Energy. Creation and Implementation of FSUE
In the matter of universal access to electricity, during Dr. <mask> tenure, the Ministry of Energy created and started the operation of the Universal Electricity Service Fund (FSUE) established in the Electricity Industry Law, chaired by the Deputy Secretary of Energy for Electricity, which financed electricity access for over 800,000 Mexicans not previously covered. The Ministry published the Policies and Strategies for the electrification of rural communities and marginalized urban areas (March 29, 2017), which contemplated two different alternatives for taking electricity service to Mexicans no previously attended: a) extending coverage of CFE’s basic service to communities located at a distance 5 km or less from the electricity distribution grid, and b) installing off-grid systems. In implementation of the Policies and Strategies, the Universal Electricity Service Fund (FSUE), through CFE and FIDE, financed the extension of the distribution grid and the installation of off-grid electricity systems. By the end of 2017 CFE had extended service to 2,011 towns with 352,938 inhabitants not previously attended.And FIDE, the government entity in charge of competitively assigning off-grid projects, reported that by the end of 2018, contracts had been assigned to 37 companies to develop off-grid projects in 1,596 towns, to provide electricity to 138,304 inhabitants not previously covered. Resignation from the Ministry of Energy
Dr<mask> resigned from the Energy Ministry on November 23, 2017. Federal Economic Competition Commission (COFECE)
On December 1, 2017, Dr. <mask> was appointed Head of the Unit for Planning, Institutional Relations and International Affairs (UPVAI) at the Federal Economic Competition Commission (COFECE), Mexico’s federal antitrust agency. UPVAI is the COFECE Unit in charge of, among other things, competition advocacy. During his ten-month tenure, COFECE published several competition advocacy studies, including “Rethinking competition in the Digital Economy” (March 1, 2018), “Transition to Competitive Markets in Energy: LP Gas” (June 18, 2018), “A Competition Agenda towards integrity in Public Procurement” (July 20, 2018), and prepared “Market Power and Social Welfare” (October 12, 2018). It organized, together with the Institute for Legal Research of UNAM, an International Seminar on Attorney-Client Privilege in Antitrust Investigations (May 30, 2018), and published a recommendation to the Ministry of Communications and Transport to eliminate the exclusivity exercised by Aeropuertos y Servicios Auxiliares (ASA), a government owned enterprise, in the services for storage, commercialization and retail of fuels for aircraft at national airports. Dr. <mask> left his position at COFECE on September 30, 2018 to become part of the Ministry of Economy transition team of President-elect López Obrador headed by future Secretary Graciela Márquez Colín; he was replaced by David Lamb de Valdés.National Commission for Better Regulation (CONAMER)
On December 1, 2018, he was proposed as National Commissioner of the National Commission for Better Regulation (CONAMER), by Secretary of Economy Graciela Márquez Colín, and appointed to that position by President Andrés Manuel López Obrador. CONAMER is Mexico’s central regulatory coordinating body (akin to the US Office of Information and Regulatory Affairs, OIRA). It is in charge of ex ante and ex post regulatory impact assessments (RIAs) on Federal regulations, implementing programs for simplification and improvement of Federal administrative procedures, and operating several specific better regulations programs together with other federal, state and municipal authorities. The National Commissioner is also the Secretary of the National Council on Better Regulation which coordinates all the federal and local authorities on this subject matter. General Law on Better Regulation
During his one year and a half tenure as National Commissioner, <mask> implemented Mexico’s 2018 General Law on Better Regulation (published on May 18, 2018, in the last year of the Peña Nieto Administration). This implied starting the operation of the new better regulation programs and governance bodies mandated by the 2018 Law, which as per its Transitory Articles were due to be implemented in 2019. Accordingly, CONAMER elaborated and published the Guidelines for specific Better Regulation Programs (May 20, 2019).Guidelines of the National Program on Oral Mercantile Trials (JOM), Guidelines of the Program on Priority Sectoral Reforms (PROREFORMA), Guidelines of the Program on Simplified Window for Construction Permits (VECS), Guidelines of the Program on Fast Business Licensing (SARE) and the Program for Certification of Operation of Fast Business Licensing (PROSARE), Guidelines of the Program on Legal and Economic Administrative Reform Method

masks:
César Emiliano Hernández Ochoa
Hernández
Hernández
César Hernández
Hernández
Hernández
Hernández
Hernández
. Hernández
Hernández
Hernández
César Hernández


texts:
 (MEJORA), and Guideline of the Program on Administrative Burden Easing (SIMPLIFICA). Published in the Mexican Official Gazette on May 20, 2019. organized the installation and first session of the National Council on Better Regulation, The National Council on Better Regulation was installed on August 19, 2019, with the participation of, among others, the Secretary of Economy Graciela Márquez, the Secretary of Interior Olga Sánchez Cordero, the Mexico City Chief of Government Claudia Sheimbaum, and the Governor of the State of Yucatan Mauricio Vila. submitted to the National Council and published of the National Strategy for Better Regulation oversaw the appointment of the members and installation of the National Observatory on Better Regulation. Promotion of Local Laws on Better Regulation
CONAMER also promoted state laws that were harmonized with the institutions and provisions of the 2018 General Law. Thus, CONAMER published a Model State Law on Better Regulation (February 1, 2019), and promoted the approval and publication of State Laws on Better Regulation by the 32 Local Congresses of the country. Accordingly, Commissioner <mask> attended meetings of Local Better Regulation Councils and met with the Governors of the States of Campeche, Chihuahua, Colima, Durango, Guanajuato, Jalisco, Mexico, Michoacán, Querétaro, San Luis Potosí, Sonora, Veracruz and Yucatán. By March 31, 2020, 27 such new State Laws on Better Regulation had been published.Law on the Promotion of Public Trust
CONAMER promoted with Congress the approval of a new Law on the Promotion of Public Trust. The new Law regulates the work of inspectors and the conduct of inspections –in harmony with the General Law on Better Regulation-, and provides for benefits to citizens that declared to be in compliance with legal and regulatory requirements. CONAMER is the entity in charge of executing this new law. The Law, originally proposed by President-elect López, was passed by the Senate, the Chamber of Deputies, and published by President López Obrador. It was presented by President Lopez Obrador and the National Commissioner of CONAMER on the Presidential Morning Press Conference of January 30, 2020. In implementation of the Law on Public Trust and of the General Law on Better Regulation (in the matter of federal inspections and inspectors), CONAMER published the Guidelines on the Implementation of the Law to Promote Public Trust (February 20, 2020), and the Guidelines on the National Registry of Federal Inspections and Inspectors (February 19, 2020). The Law on the Promotion of Public Trust provided for the creation on a new Registry of Public Trust incorporated in an electronic platform which was also presented by President López Obrador, the Secretary of Economy Graciela Márquez and the National Commissioner of CONAMER on the Presidential Morning Press Conference of .Advocacy of Better Regulation Practices
During his year-and-a-half tenure as National Commissioner for Better Regulation, CONAMER published several better regulation advocacy studies, including “Simplifying Construction Permits” (August 14, 2019, coedited with the Organization of American States), “Actions to Simplify Administrative Procedures and Improve Regulations” (June 25, 2019), “Towards Digital Justice: Evaluation of Technological Systems in Local Judicial Branches ” (June 31, 2019, coedited with the National Commission of State Supreme Courts and Microsoft), “Subnational Regulatory Agenda for the Commerce Sector” (November 22, 2019), “Subnational Regulatory Agenda for the Cargo Trucking Sector” (November 22, 2019, coedited with the Federal Economic Competition Commission), and “Better Regulation Best Practices for Municipal Governments” (July 3, 2019, coedited with the Mexican Association of State Secretaries of the Economy), “Oral Mercantile Trials. National Evaluation, Recommendations and JOM Certification” (February 20, 2020, coedited with the National Commission of State Supreme Courts and CIDE), and “How to Respond to the Epidemic. Best Practices for Local Governments” (April 4, 2020, coedited with the Mexican Association of State Secretaries of the Economy). Resignation from CONAMER
He resigned his position as National Commissioner at CONAMER on May 15, 2020. His resignation was reported by The Wall Street Journal: “<mask>, head of the commission on regulatory improvement and one of the architects of the power-sector overhaul that allowed foreign and private investment in the electricity market, resigned Friday after the Energy Ministry requested a waiver from the commission to publish the new rules without a public consultation.” It was also reported in the US State Department 2020 Investment Climate Statement for Mexico: “CONAMER’s widely-respected director, Cesar Hernandez, resigned May 15. Hours later, the acting head of CONAMER waived the requirement for a Regulatory Impact Assessment for a controversial energy policy directive that could affect the viability of private sector power projects in Mexico’s energy market.” Mexican political activist and academic John M. Ackerman celebrated: “<mask> resignation is excellent news that shows we are moving in the right direction… Hérnandez was architect of the privatizing 2014 Energy Reform”. Publications
His published books and articles explore, among others, issues of telecommunications regulation, international trade and arbitration, and energy regulation and reform.Books and book chapters
 Reforma energética. Electricidad, México, Fondo de Cultura Económica, 2018, 132 pp. With Flores Quiroga, Aldo, et. al., Crecimiento y productividad II, México, Fondo de Cultura Económica, 2018, 625 pp. With Martínez, Lorenza, coordinador del libro La política del comercio exterior: Regulación e impacto, México D.F., ITAM, 2012, 347 pp. La reforma cautiva. Inversión, trabajo y empresa en el sector eléctrico mexicano, México D.F., CIDAC, 2007, 534 pp.With Rubio, Luis, Jaime, Edna y Azuara, Oliver, México 2025: el futuro se construye hoy, México D.F., CIDAC, 2006, 191 pp. “Estado de derecho y acceso a la justicia: Algunas experiencias internacionales”, Fix Fierro, Héctor (ed. ), A la puerta de la ley. Un nuevo orden jurídico para el México de hoy, México D.F., Cal y Arena, 1994. Academic articles
 “La nueva Constitución energética mexicana y su implementación”, en Esquivel, Gerardo, Ibarra Palafox, Francisco, y Salazar Ugarte, Pedro (Coords. ), Cien ensayos para el Centenario, Tomo 2. Estudios Jurídicos, México D.F., UNAM/Senado de la República, 2017, pp.231–260. “La regulación y el sistema judicial se dan la mano. Los litigios del espectro radioeléctrico 2008-2011”, en Mariscal, Judith (ed. ), Licitación 21. Lecciones de política pública en telecomunicaciones, México D.F., CIDE, 2014, 208 pp. “Títulos habilitantes y discrecionalidad en las telecomunicaciones mexicanas”, en Fernández Ruiz, Jorge, y <mask>, Juan (coords. ), La concesión de las telecomunicaciones, México D.F., Instituto de Investigaciones Jurídicas, UNAM, 2011, pp.1–30. “Servicio público y servicio universal en las telecomunicaciones mexicanas. Una transición regulatoria inacabada”, en Caballero Juárez, José Antonio, Concha Cantú, Hugo A., y Fix-Fierro, Héctor (coords. ), Sociología del derecho. Culturas y sistemas jurídicos comparados. Vol. II: Regulación, cultura jurídica, multiculturalismo, pluralismo jurídico y derechos humanos, México D.F., Instituto de Investigaciones Jurídicas, UNAM, 2010, pp.1–45. “Temas de regulación del sector eléctrico”, en Bárquin Álvarez, Manuel y Treviño Moreno, Francisco J. (Coords. ), La infraestructura pública en México (Regulación y financiamiento), México D. F.,  Instituto de Investigaciones Jurídicas, UNAM, 2010, pp. 107–132. “Análisis de Sentencias y Resoluciones Relevantes. Acción de Inconstitucionalidad 26/2006 (Caso ‘Ley de Medios’) de la Suprema Corte de Justicia de la Nación”, en Boletín Mexicano de Derecho Comparado, Nueva Serie, Año XLII, Núm.125, mayo-agosto de 2009, pp. 1129–1158. “Transición de la televisión analógica a la digital”, en Huber, Rudolf, y Villanueva, Ernesto (coords. ), Reforma de medios electrónicos ¿Avances o retrocesos?,  UNAM/Fundación Konrad Adenauer, 2007, pp. 137–157. With Alberto Díaz Cayeros, "El problema de la relación entre valores y hechos en el derecho: una perspectiva popperiana", en Abraham Nosnik (coord. ), Caminos de apertura: El pensamiento de Karl R. Popper, México, D.F., Trillas/ITAM, 1991.With Víctor Carlos García Moreno, "Aspectos jurídicos del endeudamiento externo y la renegociación reciente de México", Estudios en homenaje a la doctora Yolanda Frias, México D.F., Instituto de Investigaciones Jurídicas, UNAM, 1991. With Víctor Carlos García Moreno, “Hacia un Acuerdo de Libre Comercio México-Estados Unidos. Implicaciones Legales”, en Witker, Jorge (coord. ), Aspectos Jurídicos del Tratado de Libre Comercio, México D.F., Instituto de Investigaciones Jurídicas, UNAM, 1992. With Víctor Carlos García Moreno, "Páneles para la resolución de disputas", en Rey Romay, Benito (coord.) La integración comercial de México a Estados Unidos y Canadá. ¿Alternativa o destino?, México D.F., Instituto de Investigaciones Económicas, UNAM/Siglo XXI, 1992.With Víctor Carlos García Moreno, “El neoproteccionismo y los páneles como mecanismos de defensa contra las prácticas desleales”, en Revista de Derecho Privado, México D.F., UNAM, año 3, núm. 9, septiembre-diciembre 1992. With Víctor Carlos García Moreno, “El Acuerdo de Libre Comercio México-Estados Unidos como instrumento para enfrentar el proteccionismo moderno”, en Carlos Arriola (comp. ), Testimonios sobre el TLC, México D.F., Miguel Ángel Porrúa/Secofi, 1994. With Víctor Carlos García Moreno, "Neoprotectionism and Dispute Resolution Panels as Defense Mechanisms Against Unfair Trade Practices:  A Focus on Mexico", en Kozolchyk, Boris (ed. ), Making Free Trade Work in the Americas, Vol. 1, New York, Transnational Juris Publications Inc., 1994.Awards and Honors
Dr<mask> was awarded the 2007 Marcos Kaplan Award given to the best PhD/SJD Dissertation on Law and Social Sciences by Mexico’s National Autonomous University (UNAM) for his work on the Effectiveness of Mexico’s telecommunications regulation. In 2018, he was awarded the LAC-CORE Clean Energy Award 2018, by the Latin American and Caribbean Council on Renewable Energy, “for his work in establishing the foundations of Mexico’s renewable energy industry”. He is the only Mexican to have obtained the award, former recipients of the award include José Maria Figueres (former president of Costa Rica), Ramón Mendez Galain (former Minister of Energy of Uruguay), and Marcelo Tokman Ramos (former Minister of Energy of Chile). Dr. <mask> is Fulbright Grantee and Ford MacArthur Graduate Fellow (1991). Previously, he received the Premio Ruta Hidalgo (1978), for elementary school students, from Mexico’s Ministry of Education (SEP). Notes

References

Mexican political people
Living people
Year of birth missing

masks:
Hernández
César Hernández
César Hernández
Rivera Hernández
. Hernández
Hernández