texts: between Venus and Adonis, this song encourages people, especially women, to pursue their love and passion. In this music piece, Adonis symbolizes remarkable beauty, love and the moment of revival and awakening. On December 2, 2021, the rollout of the 3rd and final single, “Freaky Cinderella 疯狂灰姑娘”, marked the full release of the album. The song’s catchy tune and novel lyrics metaphorically depict a wonderland for the unusual and the unconventional and explicitly express Fei’s idea of breaking norms and traditions in search of freedom and self-realization. On December 20, 2021, Fei delighted her fans amid the holiday season with the release of “At Christmas”, a cozy and romantic Christmas duet co-created with Chinese singer-songwriter Ryan. B.Along with the music release and stage presence, Fei continues to diversify her career opportunities and shift more focus to acting. In September 2021, she finished filming the web series My Marvelous Fable, in which she plays the lead actress role. The series is set to be released in 2022. Over the past few years, Fei has gained millions of fans on major Chinese social platforms - Weibo, Red, Douyin and Bilibili, and earned an influencer and trendsetter reputation (人间种草机) by discovering and sharing beauty and lifestyle tips in her vlog series. According to CBNData, Fei topped the Celebrity Influence in Beauty ranking in the first two quarters of 2021 consecutively. Her credibility and positive image have brought her collaborations with brands across multiple categories including beauty, clothing, footwear, and food & beverage. In 2020 and 2021, she has been the brand ambassador for Bebe, OUAI, Sephora Collection Makeup,Skechers, Rituals, L'Oréal Paris hair color, Sisley Paris Sisleÿa in China.As of January 2022, Fei


type: original

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 is the ambassador of Michael Kors for Greater China, LAN FONG YUEN for China, and Dr.Ci:Labo for the Asia Pacific region. Through collaborations with luxury fashion houses like Louis Vuitton, Celine and Fendi and avant-garde designers like Creepyyeha, Fei has forged her own unwaveringly unique sense of style - sharp, daring and uncompromising, yet also fluid and evolving with a new discovery at every turn. Her stellar performance with Balmain was one of the brand's most liked celebrity portrayals worldwide in 2021 and was featured in its year end highlights. On September 26, 2021, Fei made her e-commerce livestreamer debut as the Chief Fashionista (首席时髦精) at Alibaba-backed Tmall Celebrity Pick (天猫星选), an influential e-commerce digital platform where a select group of respected celebrities hosts livestream sessions in collaboration with brands and products that fit with each celebrity's profile and speciality. “Fei’s Fashion”(霏常时髦) is Tmall’s tailored program that characterizes and encapsulates Fei's livestream content. Her debut livestream featured a well-curated list of products in fashion, accessories, beauty and food & beverage, and attracted close to 3 million viewers and brought about 74 million views to the hashtag Tmall Celebrity Pick on Weibo. Discography

Singles

Soundtrack Appearances

Filmography

Films

Drama

Variety Shows

Radio shows

Event Hosting

Awards and Nominations

References

External links

1987 births
Living people
Miss A members
JYP Entertainment artists
Chinese expatriates in South Korea
Chinese women singers
Chinese female models
Chinese film actresses
Chinese idols
Chinese K-pop singers
Chinese television actresses
Korean-language singers of China
Mandarin-language singers
People from Haikou
Singers from Hainan
Actresses


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<mask> (née Jarvis; July 26, 1896 – November 17, 1932), was a pioneering African-American stage and screen actress and jazz and blues singer of the 1910s through the early 1930s. Preer was known within the black community as "The First Lady of the Screen." She was the first black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York-style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's Rain. Early life
<mask> was born in Vicksburg, Mississippi on July 26, 1896. After her father, Frank, died prematurely, she moved with her mother, Blanche, and her three other siblings to Chicago, Illinois. She completed grammar school and high school in Chicago.Her early experiences in Vaudeville and "street preaching" with her mother are what jump-started her acting career. Career in cinema
At the age of 23, Preer's first film role was in Oscar Micheaux's 1919 debut film The Homesteader, in which she played Orlean. Preer was promoted by Micheaux as his leading actress with a steady tour of personal appearances and a publicity campaign, she was one of the first African American women to become a star to the black community. She also acted in Micheaux's Within Our Gates (1920), in which she plays Sylvia Landry, a teacher who needs to raise money to save her school. She continued her career by starring in 19 films. Micheaux developed many of his subsequent films to showcase Preer's versatility. These included The Brute (1920), The Gunsaulus Mystery (1921), Deceit

masks:
Evelyn Preer
Evelyn Jarvis


texts:
 (1923), Birthright (1924), The Devil’s Disciple (1926), The Conjure Woman (1926) and The Spider's Web (1926).Preer had her talkie debut in the race musical Georgia Rose (1930). In 1931, she performed with Sylvia Sidney in the film Ladies of the Big House. Her final film performance was as Lola, a prostitute, in Josef von Sternberg's 1932 film Blonde Venus, with Cary Grant and Marlene Dietrich. Preer was lauded by both the black and white press for her ability to continually succeed in ever more challenging roles, "...her roles ran the gamut from villain to heroine an attribute that many black actresses who worked in Hollywood cinema history did not have the privilege or luxury to enjoy." Only her film by Micheaux and three shorts survive. She was known for refusing to play roles that she believed demeaned African Americans. Career in theatre
In 1920, Preer joined The Lafayette Players a theatrical stock company in Chicago that was founded in 1915 by Anita Bush, a pioneering stage and film actress known as “The Little Mother of Black Drama".Bush and her troupe toured the US to bring legitimate theatre to black audiences at a time when theatres were racially segregated by law in the South, and often by custom in the North and the interest of vaudeville was fading. The Lafayette Players brought drama to black audiences, which caused it to flourish until its end during the Great Depression. By the mid-1920s, Preer began garnering attention from the white press, and she began to appear in crossover films and stage parts. In 1923, she acted in the Ethiopian Art Theatre's production of The Chip Woman's Fortune by Willis Richardson. This was the first


texts:
 dramatic play by an African-American playwright to be produced on Broadway, and it lasted two weeks. In 1926, Preer appeared on Broadway in David Belasco’s production of Lulu Belle. Preer supported and understudied Lenore Ulric in the leading role of Edward Sheldon's drama of a Harlem prostitute.She garnered acclaim in Sadie Thompson in a West Coast revival of Somerset Maugham’s play about a fallen woman. She rejoined the Lafayette Players for that production in their first show in Los Angeles at the Lincoln Center. Under the leadership of Robert Levy, Preer and her colleagues performed in the first New York-style play featuring black players to be produced in California. That year, she also appeared in Rain, a play adapted from Maugham's short story by the same name. Preer also sang in cabaret and musical theater where she was occasionally backed by such diverse musicians as Duke Ellington and Red Nichols early in their careers. Preer was regarded by many as the greatest actress of her time. Marriage and family
Preer married <mask> on January 16, 1915, in Chicago.She met her second husband, Edward Thompson, when they were both acting with the Lafayette Players in Chicago. They married February 4, 1924, in Williamson County, Tennessee, Tennessee. Some sources indicate Preer was married to Lawrence Chenault. In April 1932, Preer gave birth to her only child, daughter Edeve Thompson. Developing  post-childbirth complications, Preer died of double pneumonia on November 27, 1932, in Los Angeles at the age of 36. Her husband continued as a popular leading man and "heavy" in numerous race films throughout the 1930s and 1940s, and died in 1960. Their


texts:
 daughter Edeve Thompson converted to the Catholicism as a teenager.She later entered the Sisters of St. Francis of Oldenburg, Indiana, where she became known as Sister Francesca Thompson, O.S.F., and became an academic, teaching at both Marian University in Indiana and Fordham University in New York City. Filmography

 The Homesteader (1919)
 Within Our Gates (1920)
 The Brute (1920)
 The Gunsaulus Mystery (1921)
 Deceit (1923)
 Birthright (1924)
 The Devil's Disciple (1926)
 The Conjure Woman (1926)
 The Spider's Web (1926)
 The Framing of the Shrew (1928)
 Melancholy Dame (1928)
 Oft in the Silly Night (1928)
 The Lady Fare (1929)
 Brown Gravy (1929)
 The Widow's Bite (1929)
 Georgia Rose (1930)
 The Good Sport (1931) uncredited
 Ladies of the Big House (1931)
 Blonde Venus (1932)

Theater
 Rang Tang (1927)

Further reading
 Bowser, Pearl. Oscar Micheaux, His Silent Films and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, Bloomington, Indiana. : Indiana University Press, 2001, pp. 19–33
 Cripps, Thomas. Slow Fade to Black: The Negro in American Film, 1900-1942, New York, New York: Oxford University Press, 1977, pp. 324–25.References

External links

 <mask>- Our First Lady of the Silver Screen

1896 births
1932 deaths
20th-century American actresses
Actresses from Mississippi
African-American actresses
American blues singers
American film actresses
American silent film actresses
American stage actresses
Blackface minstrel performers
Musicians from Vicksburg, Mississippi
Vaudeville performers
Deaths from pneumonia in California
20th-century American singers
20th-century American women singers
20th-century


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<mask> (;  ; April 23, 1997) is a Chinese pair skater. With current partner Jin Yang, she is a two-time Four Continents medalist (silver in 2020, bronze in 2019), two-time Grand Prix Final silver medalist (2018–19, 2019–20), and the 2017 Asian Winter Games silver medalist. <mask> represented China at the 2018 Winter Olympics and the 2022 Winter Olympics. With former partner Zhang Hao, she is the 2015 Four Continents silver medalist and competed at the 2014 Winter Olympics. Career
Early in her career, <mask> competed with Zhang Tianci. Partnership with Zhang Hao

2012–13 season
Her partnership with Zhang Hao was announced in May 2012. The pair made their international debut at the 2012 Cup of China.They placed eleventh at their first World Championships. 2013–14 season
In the 2013–14 season, <mask>/Zhang won their first Grand Prix medals, bronze at the 2013 Cup of China and silver at the 2013 NHK Trophy, and qualified for the Grand Prix Final, where they came in fourth. They were selected for the 2014 Winter Olympics and finished eighth in Sochi. Ending their season, they placed fifth at the 2014 World Championships in Saitama. 2014–15 season
For the 2014–15 Grand Prix season, <mask>/Zhang were assigned to Skate America and Cup of China, where they placed third and first, respectively, qualifying for the 2015 Grand Prix Final. They finished fourth at that competition after placing fifth in the short program and third in the free skate. They won the silver medal at the 2015 Four Continents Figure Skating Championships.At the 2015 World Figure Skating Championships, they earned personal best scores in the free skate and combined total to finish in fourth place overall. 2015–16 season
<mask>/Zhang's final season together began at the 2015 Trophée Éric Bompard, where they placed fourth in the short program, before the remainder of the event was cancelled as a result of the terrorist attacks in Paris. They won the bronze medal at the 2015 Rostelecom Cup, qualifying for the Grand Prix Final, which had been expanded as a result of the Paris

masks:
Peng Cheng
Peng Jin
Peng
Peng
Peng
Peng


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 incident. They finished sixth there. In their final event together, the 2016 World Championships, they performed poorly, placing twelfth in the short program and ninth in the free skate, for twelfth place overall. Partnership with Jin Yang

2016–17 season
On April 14, 2016, International Figure Skating magazine broke the news of <mask>'s new partnership with Jin Yang. The Chinese Skating Association decided to switch partners between the two pairs of <mask>/Zhang and Yu/Jin.<mask>/Jin debuted on the Grand Prix with two silver medals at the 2016 Cup of China and the 2016 NHK Trophy, earning a place in the Grand Prix Final, where they finished sixth. At the 2017 Chinese Championships, they won their first national title. Competing at the 2017 Four Continents Championships, their first ISU Championship event, they placed fifth. At the 2017 Asian Winter Games, <mask>/Jin won the silver medal behind Yu/Zhang. This concluded their season. 2017–18 season
The two won the 2017 CS Finlandia Trophy, their first international gold medal together. The Grand Prix was a disappointment, with <mask>/Jin finishing fifth at both the 2017 Skate America and 2017 Internationaux de France.At the 2018 Chinese Championships, they finished second behind Yu/Zhang, and were named to China's team for the 2018 Winter Olympics. <mask>/Jin competed in the pairs event in Pyeongchang, finishing seventeenth in the short program and thus missing the free skate by a single ordinal. Their season concluded at the 2018 World Championships, where they finished ninth. 2018–19 season
With both Sui Wenjing / Han Cong and Yu/Zhang sidelined by injury at the beginning of the season, <mask>/Jin were the sole Chinese pair team competing internationally on the senior level. They began with a gold medal at the 2018 CS Asian Open. On the Grand Prix, <mask>/Jin began at the 2018 Skate Canada International, where they won the silver medal, finishing ahead of bronze medalists Kirsten Moore-Towers / Michael Marinaro by 0.15 points. The two struggled on their side-by-side jumps in the free

masks: Peng Peng Peng Peng Peng Peng Peng Peng


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 skate, where they finished fourth, an area where Jin said they hoped to improve.At the 2018 NHK Trophy, they won a second silver medal, by a far more decisive margin. They qualified to the Grand Prix Final, with <mask> noting that "we feel like we miss our teammates, but advancing to the Grand Prix Final is something we are proud of." At the Final they placed first in the short program and second in the free skate, winning silver overall. This was the team's first major international medal. At the 2019 Chinese Championships, they won their second national title. At the 2019 Four Continents Championships in Anaheim, they placed third in the short program behind Moore-Towers/Marinaro and a returning Sui/Han, in consequence of Peng falling on their throw jump. They came third in the free skate as well, making an error on the side-by-side triple Salchow jumps, finishing third overall, their first ISU Championship medal.Peng commented that "despite the success rate of the triple jump in the training, we want to try that and challenge ourselves, and show what we have done in our training." Concluding the season at the 2019 World Championships, <mask>/Jin placed third in the short program, earning a small bronze medal. They came fifth in the free skate due to Peng underrotating her triple Salchow attempt, and finished fourth overall, off the podium by 1.97 points. Reflecting on the season, Jin observed: " We are satisfied with overall performances. We could pull out what we can. Of course, for some details, there are some areas to improve. The biggest accomplishment this season is to get our names out so that judges recognize us.For next season, we continue to improve our performance." 2019–20 season
<mask>/Jin debuted at the 2019 CS U.S. Classic, taking the bronze medal. They then won the 2019 Shanghai Trophy. On the Grand Prix series, <mask>/Jin first competed at 2019 Skate America, placing first in the short program despite <mask> stepping out on and underrotating her side-by-side jump. They placed first in the free skate as well, despite a

masks: Peng Peng Peng Peng Peng


texts:
 fall on a throw triple loop, taking their first Grand Prix gold medal together. They did not skate in the gala due to the throw jump fall impacting <mask>'s ankle. At their second event, the 2019 Cup of China, <mask>/Jin placed narrowly third in the short program after Peng fell on a jump and they had unison issues with their spins.They rose to second place and the silver medal in the free skate. Qualifying to the Grand Prix Final, <mask>/Jin lost their skates on the way there, and were consequently unable to practice for five days, though they were ultimately returned the day before the competition began. They were fifth in the short program following <mask> putting her foot down on their throw triple loop. Jin said that <mask>'s ankle injury from Skate America was "quite stubborn and not becoming better", impacting their training. They skated cleanly in the free skate, narrowly placing first in that segment, and rose to second place overall, winning their second consecutive Final silver medal. <mask>/Jin skated cleanly to place second in the short program at the 2020 Four Continents Championships in Seoul. Jin said they were quite satisfied with their performance, while <mask> revealed that sickness and a leg injury had impacted their training after the Grand Prix Final.Second in the free skate as well with only a stepout on a throw triple loop, they won the silver medal behind Sui/Han. They were assigned to compete at the World Championships in Montreal, but these were cancelled as a result of the coronavirus pandemic. 2020–21 season
With the pandemic continuing to affect international travel, the ISU assigned the Grand Prix based largely on geography, with <mask>/Jin being assigned to the 2020 Cup of China. Following withdrawals from some other Chinese teams, including Sui/Han, <mask>/Jin won the gold medal by almost 50 points out of three teams attending. In March at the 2021 World Championships in Stockholm, <mask> fell at the beginning of the short program, breaking one of the zippers on her dress, but continued the performance and

masks: Peng Peng Peng Peng Peng Peng Peng Peng Peng Peng


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 put her hand down on her underrotated jump attempt. They placed fifth in that segment. <mask> made errors on both jumps in the free skate as well, and they placed sixth in that segment, but remained in fifth place overall.2021–22 season
<mask>/Jin's first Grand Prix assignment was initially the 2021 Cup of China, but following its cancellation they were reassigned to the 2021 Gran Premio d'Italia. Making their season debut, they placed second in both segments to take the silver medal behind Sui/Han. The Chinese federation opted to withdraw them from their second event, the 2021 Internationaux de France, as a result of which they could not qualify for the Grand Prix Final. Assigned to the Chinese Olympic team, <mask>/Jin began the 2022 Winter Olympics as their country's entry in the pairs free skate segment of the Olympic team event. They were third in the segment despite <mask> making multiple jump errors and their final lift exiting early, while the Chinese team finished in fifth place. In the pairs event, <mask>/Jin were fifth in the short program. In the free skate, <mask> underrotated and stepped out of her triple Salchow attempt, but they placed sixth in the segment and remained in fifth overall.Jin said that they had been under "great pressure because we had the disappointing score" at the previous Olympics and failed to qualify for the free skate, but that they were pleased to have performed well in Beijing. Programs

With Jin

With Zhang

Competitive highlights
GP: Grand Prix; CS: Challenger Series

With Jin

With Zhang

Detailed results

With Jin

With Zhang

References

External links

1997 births
Living people
Figure skaters from Harbin
Chinese female pair skaters
Four Continents Figure Skating Championships medalists
Figure skaters at the 2014 Winter Olympics
Figure skaters at the 2018 Winter Olympics
Figure skaters at the 2022 Winter Olympics
Olympic figure skaters of China
Figure skaters at the 2017 Asian Winter Games
Medalists at the 2017 Asian Winter Games
Asian Games silver medalists for China
Asian Games medalists

masks: Peng Peng Peng Peng Peng Peng


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<mask> (November 20, 1906 – April 30, 1998) was an American artist known primarily for his oil painting who lived most of his life in the Puget Sound region of the United States. His work is in the collections of numerous museums including the Seattle Art Museum, the Tacoma Art Museum, and the Metropolitan Museum of Art. He has been called "Perhaps the most powerful artist to emerge from the Northwest School". <mask>'s mature work often draws from a set of symbols (circle, spiral, egg, seed, wave) he developed from the study of religious, mythical, and philosophical sources. The symbols are frequently combined with the human figure. Beginning in the 1960’s he painted on brown roofing paper that came in long rolls and permitted him to paint on a grand scale. <mask> said: "I read the Vedanta and the Vedas and I think about the order of the universe.The more we send men out into space, the more I realize we already are in space, floating out there. The whole order is preordained, in some miraculous way. I think all creation is magical." Early life
<mask> grew up in a semi-rural setting north of Seattle, in the town of Edmonds, Washington, where he'd been born on November 20, 1906. Some of his early paintings portrayed his family home. A piano was an important presence in his house. His father, <mask>, was a carpenter-builder and also a musician.From an early age <mask> was intrigued by other cultures; he was particularly fascinated by the woodcarvings of Northern Coastal native tribes, and by the collection of Japanese prints owned by his piano teacher. As soon as he was old enough to do so on his own, he began commuting to the Seattle Public Library by bus to study art books. After graduating from Edmonds High School,

masks:
Guy Anderson
Anderson
Anderson
Anderson
Irving Anderson
Guy


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 <mask> briefly studied with Alaskan scenic painter Eustace Ziegler, who encouraged <mask>'s career-long preference for oil paints, and taught him how to draw nude figures, which would become important features of his work. In 1929, <mask> applied for and won a Tiffany Foundation scholarship and spent the summer studying at the Tiffany estate on Long Island, New York. As there were no art museums in Seattle at that time, he delighted in weekend visits to the Metropolitan Museum of Art in Manhattan, examining the works of Rembrandt, Goya, Whistler, and many others. Career

On his return to Washington in the fall of 1929, <mask> set up a studio in an outbuilding on his parents' property, and had paintings included in a group show at the Fifth Avenue Gallery in downtown Seattle. The show piqued the interest of 19-year-old painter Morris Graves, who lived near <mask>, and the two became lifelong friends.In 1934 they traveled together to California in a beat-up panel truck, attempting to sell their paintings along the way. They also spent time painting near Monte Cristo in the North Cascade mountains. With the opening of the Seattle Art Museum in 1933, <mask> befriended its founder, Dr. Richard Eugene Fuller, and worked there for several years, off-and-on, as an installer and children's art teacher. His lifelong interest in Asian art and culture was deepened by both close exposure to the museum's major collection of Asian art and artefacts, and by socializing and sometimes painting with members of Seattle's vibrant Asian arts community. In the Northwest Annual Exhibition of 1935 he won the Katherine Baker Purchase Award, and the museum mounted a solo exhibition of his work the following year. In 1937, <mask> helped refurbish

masks: Anderson Anderson Anderson Anderson Anderson Anderson Anderson


texts: a burned-out house Morris Graves had discovered near the small town of La Conner, Washington, in the Skagit Valley, about sixty miles north of Seattle. The two decorated the earthen-floored studio with furniture made of driftwood and raw cedar logs.Like many artists during the Great Depression, <mask> worked for the Works Progress Administration's Federal Art Project. Hired by the program's Washington director, R. Bruce Inverarity, he taught at the Spokane Art Center in 1939-40, alongside painters Carl Morris and Clyfford Still,  sculptor Hilda Deutsch, and muralist Ruth Egri. The center was widely praised as being among the most popular and productive of the more than 100 community art centers opened nationwide by the FAP. Throughout the 1940s and 50s <mask> was very much involved in Seattle's bustling art community. Morris Graves and Mark Tobey had become artists of international reputation; Tobey's studio and the home of painters Margaret and Kenneth Callahan become centers of lively socializing and philosophical debate. Otto Seligman and Zoe Dusanne were championing abstract art at their respective galleries, while SAM, the Henry Art Gallery, and the Frye Art Museum cautiously supported it. <mask> taught at the Helen Bush School in Seattle and Ruth Pennington's Fidalgo Art School in La Conner, while working at SAM, building stone mosaic patios for well-to-do patrons, and producing driftwood art for the commercial market.He lived in Seattle's University District, but spent much of his time painting at Graves' studio in La Conner or at the Callahans' summer place in Granite Falls, Washington. After a very successful show at SAM in 1945, he purchased his own cabin in Granite Falls. In September 1953 he became

masks: Anderson Anderson Anderson


texts: nationally known when Life magazine ran a major feature presenting <mask>, Tobey, Graves, and Kenneth Callahan as the "big four" of Northwest mystic art. In 1959 <mask> left Seattle for good. He rented a house on the edge of La Conner, where he found inspiration from the vast skies and natural settings of the surrounding area. He gathered rocks and driftwood, which he composed around his rustic home in various assemblages. For a time, he rented a studio on the main street of La Conner.Later, he bought property at 415 Caledonia Street, building a house and studio there. He began painting large works on roofing paper purchased from a local lumber company. Working with large sheets of paper on the floor in the studio above his living room, <mask> used thinned oil paint and large brushes. The scale of the format enabled his brushstrokes to become expansive and expressive, while its texture gave unexpected complexities which he valued. Over the years his art ranged from densely worked and tightly composed figurative images of Northwest landscapes to large, sweeping brushstrokes with flowing, symbolic and iconographic forms. <mask> always preferred a limited palette of mostly muted earthy tones, sometimes accented with brilliant red. The male nude—often placed horizontally—figures prominently in many of his paintings.His works are often inspired by, and titled after, Greek mythology and Native American iconography. In 1966 <mask> traveled to Europe for the first time with friends and fellow artists Clayton and Barbara James. In 1975 he was awarded a Guggenheim Fellowship, which, among other things, allowed him to visit major museums in Boston, New York, and Washington, D.C., and travel extensively in Mexico. In 1982 he

masks: Anderson Anderson Anderson Anderson Anderson


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 visited Osaka, Japan for an exhibition featuring his work. He received a Lifetime Achievement Award at the Seattle Center in 1995, and many who knew him personally considered him a "living treasure." <mask> was a complex, affable, and generous man with a wide-ranging mind and a devious sense of humor. His paintings can be read in many ways, but he cherished the premise of the human figure—a prominent feature in many of his works—as being symbolic of the journey of life.Final years
<mask> never quite achieved the international stature of his friends Tobey and Graves. This was partly due to bad luck - such as a newspaper strike leaving his first solo exhibition in New York (at the Smolin Gallery in 1962) unreviewed - but he turned down other important exhibition opportunities, including one at the Phillips Collection in Washington, DC, simply because he felt he didn't have enough material of sufficient quality ready. He remained a pre-eminent artist with strong sales and major commissioned projects in the Pacific Northwest. His expressions of northwest atmospheres with their mythological allusions are distinctive, even as they evoke the coastal Skagit River country where he lived. In the 1980s, with his health declining, <mask> arranged to be cared for as an elder, and he became increasingly dependent on a younger companion, Deryl Walls. Walls eventually became executor of his estate, and made the controversial decision to end <mask>'s long association with Francine Seders, who had been his agent since 1966. <mask> continued living in the house he had built on Caledonia Street, where he received visitors and continued painting into his late eighties.Walls eventually moved <mask> into his own home on Maple Street in La

masks:
Anderson
Guy Anderson
Anderson
Anderson
Anderson
Anderson


texts:
 Conner, where <mask> was cared for while surrounded by his paintings. Walls hosted birthday parties for <mask> which were well attended by collectors, fellow artists, and admirers. He remained lucid and enjoyed visitors at La Conner until shortly before he died on April 30, 1998, aged 91 years. Legacy
<mask>'s work has been included in exhibitions at the Seattle Art Museum, the Henry Art Gallery, the Bellevue Arts Museum, the Tacoma Art Museum, the Museum of Northwest Art in La Conner, the Whatcom Museum in Bellingham, Washington, and the National Museum of Art in Osaka Japan. In 2014, several of his works were included in Modernism in the Pacific Northwest: the Mythic and the Mystical, a major exhibition at the Seattle Art Museum. References

Bibliography
 Conkelton, Sheryl, What It Meant to be Modern:  Seattle Art at Mid-Century, Henry Art Gallery, Seattle 1999
 Conkelton, Sheryl, and Landau, Laura, Northwest Mythologies:  The Interactions of Mark Tobey, Morris Graves, Kenneth Callahan, and <mask>, Tacoma Art Museum, Tacoma WA;    University of Washington Press, Seattle and London 2003
 Kingsbury, Martha, Art of the Thirties:  The Pacific Northwest, University of Washington Press for Henry Art Gallery, Seattle and London 1972
 Wehr, Wesley,    " The Accidental Collector " University of Washington Press
 Wehr, Wesley,    "The Eighth Lively Art " University of Washington Press

External links
 <mask> collection of the Tacoma Art Museum. Over 25 of <mask>'s works ranging from the 1950s to the 1980s.<mask> collection of Henry Art Gallery. Over 25 works ranging from 1940 to the late 1970s. <mask> collection of the Portland Art Museum. Contains about a dozen works. University of Washington Digital Collections. Includes

masks:
Anderson
Anderson
Anderson
Guy Anderson
Guy Anderson
Anderson
Guy Anderson
Guy Anderson


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 photographs of <mask> in his studio. 1983 interview of <mask>.Conducted for the Archives of American Art's Northwest Oral History Project. Pacific Northwest artists
Artists from Seattle
Painters from Washington (state)
Modern artists
20th-century American painters
American male painters
1906 births
1998 deaths
Federal Art Project artists
Cornish College of the Arts faculty
People from Edmonds, Washington
Northwest School (art)
People from La Conner,

masks:
Anderson
Guy Anderson


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<mask> (September 24, 1794 – August 29, 1860) was a fur trapper and trader of French-Canadian descent best known for his exploits in the American Southwest in the first half of the 19th century. Early life
<mask> was born in 1794 in Saint Louis, the fourth of six sons of <mask>, the owner of a Saint Louis-based fur trading company, and his wife Catherine Marie Rollet dit Laderoute. The <mask> family is strongly connected to the history of the North American fur trade, with all of <mask>'s sons having participated to one degree or another in the family business. One of <mask>'s five brothers, <mask> IV, established the Blacksnake Hills Trading Post that eventually became the town of St. Joseph, Missouri. <mask> spoke English, French, and Spanish. In his early years he helped his father extend his business westward, and by the 1820s was focused on developing trade routes in the intermountain corridors of what was at the time the Mexican province of Santa Fe de Nuevo México. In the summer of 1824, <mask> may have joined a party led by Etienne Provost that traveled to the Uinta Basin to trade for pelts.He eventually established a permanent residence in the capital city of Santa Fe, and in 1828, he took for his common-law wife Carmel Benevides (1812–1888), the daughter of a Spanish captain who was killed fighting the Comanche and subsequently the adopted daughter of the provincial governor. The couple adopted a girl, Carmelete, who married Isador Barada. Barada and his brother Edmund were arrested in 1849 for illegally operating a gaming house and fined $50 each. Their subsequent appeal to the Missouri Supreme Court resulted in a reversal of their conviction. In 1829, <mask> and his younger brother <mask> petitioned for and were granted Mexican citizenship, which freed them to trade and settle in Mexican territory without having to worry about expensive tariffs and other international restrictions, as well as near-exclusive license to trap and trade in the Ute country of what is now western Colorado and eastern Utah. By 1830, <mask> had

masks:
Antoine Robidoux
Robidoux
Joseph Robidoux III
Robidoux
Joseph Robidoux
Antoine
Joseph Robidoux
Antoine
Antoine
Antoine
Louis Robidoux
Antoine


texts:
 become a prominent citizen of Santa Fe in social and economic circles. He was even elected the first non-Mexican alcalde of the ayuntamiento (the municipal council), though his political career was short-lived.Around the same time, and possibly in partnership with Louis, <mask> established Fort Uncompahgre near the confluence of the Gunnison River (then known as the Río San Xavier) and the Uncompahgre River in west-central Colorado. Though the exact date of its completion is unknown, <mask>'s post was arguably the first permanent trading operation west of the continental divide. In 1832, <mask> purchased the Reed Trading Post, a single cabin built by William Reed and Denis Julien four years earlier at the confluence of the Uinta and Whiterocks rivers in northeastern Utah, and rebuilt it much larger as Fort Robidoux, also called Fort Uintah and Fort Winty. The fort was visited by many well-known pioneers and mountain men during its years of operation, including Marcus Whitman, Miles Goodyear, and Kit Carson. Westwater Canyon inscription
Robidoux spent more than a decade managing both trading posts and exploring the Western interior. He is especially well known for having carved a famous rock inscription  on a wall of Utah's Westwater Canyon during this time. Likely ascending a trapper's trail from the canyon's mouth on the Colorado River, Robidoux left the following record of his presence engraved on a sandstone bluff:

The inscription was not again brought to public attention until 1933, when Charles Kelly first photographed it.It has since yielded many interpretations in attempts to more accurately pinpoint the precise dates of <mask>'s operations in the area. The most direct translation from the French reads "<mask> passed here 13 November 1837 to establish a trading post at the Green or Wiyté River", but the accuracy of this translation has been a matter of controversy among historians. Specifically, it has been suggested that the word "Wiyté" was actually intended to read "Winté", and that deterioration has made the appearance

masks:
Antoine
Robidoux
Robidoux
Robidoux
Antoine Robidoux


texts:
 of the third letter ambiguous; though the Green and the White are both names for rivers in Utah, "Winté" may instead be a reference to the Uinta River, which was at the time commonly called the "Winty". If this alternative translation is correct, then the inscription appears to suggest that <mask> had not yet established a trading post on the Uinta River by 1837. This contradicts evidence that he purchased and rebuilt the Reed Trading Post on the Uinta River in 1832, five years earlier. A simple solution is that the year engraved in the inscription has also been misinterpreted, and that the original message reads "1831" instead of "1837"; this would be a logical fit with the notion that <mask> may have been searching for a place to establish a new trading post in late 1831, shortly before he eventually did so when he bought the Reed Trading Post. Yet there is evidence that <mask> was actually in Missouri selling furs and procuring supplies in November 1831, making it impossible for him to have carved the inscription at that time.A third solution is that 1837 is actually correct and that <mask> was, in fact, planning to build a third, unidentified trading post in a new location at the time, which either never materialized or was built and subsequently lost to history. Later life
Both Fort Uncompahgre and Fort Robidoux were evidently attacked and destroyed by Utes in 1844, just as the fur trade was declining with changes in the European market. These circumstances prompted <mask> to quickly abandon his fur enterprise and return east to St. Joseph. Over the next decade, he worked in various capacities as an emigrant guide and a U.S. Army interpreter. In June 1846, <mask> enlisted as an interpreter with General Stephen W. Kearny's expedition to California during the Mexican–American War. He was severely wounded at the Battle of San Pasqual in December and later applied for a government pension. <mask> died in 1860 in St. Joseph, Missouri, at the age of 65.References

American fur traders
People from St. Louis
1794 births
1860

masks:
Robidoux
Robidoux
Antoine Robidoux
Robidoux
Robidoux
Robidoux
Robidoux


texts:
General <mask>'Hara (1740 – 25 February 1802) was a British Army officer who served in the Seven Years' War, the American War of Independence, and the French Revolutionary War and later served as governor of Gibraltar. During his career O'Hara personally surrendered to both George Washington and Napoleon Bonaparte. O'Hara's Battery in Gibraltar is named after him. Early life
<mask>'Hara was born in Lisbon, Portugal, the illegitimate son of James O'Hara, 2nd Baron Tyrawley and Kilmaine (and eventually promoted Field Marshal in 1763); and his Portuguese mistress. <mask> was sent to Westminster School. On 23 December 1752, at the age of twelve—a young but not uncommon age for a subaltern of the era—he became a cornet in the 3rd Dragoons. He became a lieutenant in the 2nd Regiment of the Coldstream Guards on 14 January 1756 shortly before major warfare broke out in Europe.Seven Years' War

During the Seven Years' War O'Hara served in Germany as an aide to the Marquess of Granby, the senior officer of the British contingent serving with the Duke of Brunswick's army. In 1762 he served under his father in Portugal in the same campaign with <mask>. He also saw service in Germany. Although a disciplinarian, he was extremely popular with the troops under his command. Senegal
On 25 July 1766, O'Hara was appointed commandant of the Africa Corps in Senegal, colony which had been captured from France in 1758, with the rank of lieutenant colonel. This unit was made up of British military prisoners pardoned in exchange for accepting life service in Africa. It came at a time when the British government were trying to build up a base in West Africa.In 1769, he was appointed as a captain in the Coldstream Guards. The development of Senegal

masks:
Charles O
Charles O
Charles
Charles Lee


texts:
 was a disappointment for the British and O'Hara was uninterested in civil governance. Despite the constitution which had been created offering generous rights to settlers, very few British colonists ever came to West Africa. The territories would ultimately be ceded back to France at the Treaty of Versailles in 1783. American Revolutionary War
In July 1778, Lt. Col. O'Hara arrived in America and immediately commanded forces at Sandy Hook, New Jersey. Lt. Gen. Henry Clinton, commander of the British army in America, gave him that assignment as the French fleet under Admiral d'Estaing threatened New York City. Southern Campaign
In October 1780, O'Hara was promoted to brigadier and became commander of Brigade of Guards.He became Lieutenant General <mask>' second-in-command and good friend. During Cornwallis' pursuit of Major General Nathanael Greene to the Dan River, O'Hara distinguished himself at Cowan's Ford, North Carolina on 1 February 1781. He also led the British counterattack at the Battle of Guilford Courthouse on 15 March 1781, which led to General Greene withdrawing from the field of battle. He was severely wounded during this battle, but was able to remain with the army as it moved toward Yorktown, Virginia. His nephew, who was a lieutenant of the artillery, was killed during the battle. Yorktown

General O'Hara represented the British at the surrender of Yorktown on 19 October 1781, as Cornwallis' adjutant, when the latter pleaded illness. He first attempted to surrender to French Comte de Rochambeau, who declined his sword and deferred to General George Washington.Washington declined and deferred to Major General Benjamin Lincoln, who was serving as Washington's second-in-command and had surrendered to


texts:
 General Clinton at Charleston in May 1780. O'Hara was exchanged on 9 February 1782, and was sent to the Caribbean in command of a detachment of reinforcements. Following the conclusion of the war with the Treaty of Paris he returned to Britain having been promoted to major general. The Sword of Surrender
There are various accounts of what became of the surrender sword after the battle: some claim General Washington kept it for a few years and then had it returned to Lord Cornwallis, while some believe the sword remains in America's possession, perhaps in the White House. However, in what is generally regarded as the definitive modern study of the Yorktown campaign, The Guns of Independence (2005), U.S. National Park Service historian Jerome S. Greene writes simply that O'Hara extended Cornwallis's sword and, Washington took the sword, symbolically held it a moment, and then returned it to O'Hara. Thus, this most symbolic of war trophies remained with its original owner. The sword was on Antiques Roadshow in 2019, brought there by the wife of his great great great great grandson.It was authenticated and appraised. After the war
In 1784, O'Hara fled from England to the Continent due to gambling debts. While in Italy he met the writer Mary Berry and began a long relationship with her. After Cornwallis offered him help in paying off his debts, he was able to return to Britain. When Cornwallis was made Governor General of India in 1786 he offered to take O'Hara with him, but he declined. On 1 April 1791 he transferred from the 22nd Regiment of Foot to be Colonel in Chief of the 74th (Highland) Regiment of Foot. In 1792, he was appointed lieutenant governor of Gibraltar at the rank of Lt. General.Toulon

In 1793, he was


texts:
 promoted to lieutenant-general. On 23 November 1793, he was captured at Fort Mulgrove in Toulon, France during operations that gained Napoleon the attention of his superiors. On the 10th of the same month, Napoleon marched to the siege of Toulon, to retake the hill of Arènes of which Anglo-Neapolitan forces had momentarily taken possession. In this struggle, Napoleon captured the English general O'Hara, who laid down his arms to Napoleon's staff. O'Hara had been leading a bold sortie by the besieged British troops. Napoleon had personally directed the capture operation and accepted O'Hara's formal surrender. O'Hara was treated as an "insurrectionist" and was imprisoned in the Luxembourg Prison and threatened with the guillotine.In the Luxembourg he and his retinue formed a very companionable relationship with a fellow prisoner, the Anglo-American revolutionary, Thomas Paine. O'Hara spent two years in prison in Paris. O'Hara thus has the distinction of having been the only person personally taken prisoner by both George Washington and Napoleon Bonaparte. Later years
In August 1795, he was exchanged for Comte de Rochambeau. Later that year he became engaged to Mary Berry, but the engagement was broken when he was named Governor of Gibraltar for a second time on 30 December 1795, and she would not leave England. He was promoted to full general in 1798. O'Hara is known for the folly that was O'Hara's Tower on Gibraltar and his debates with John Jervis, 1st Earl of St Vincent over the redesign of Gibraltar to serve the needs of the British Fleet.St Vincent, who was admiral in charge of the Mediterranean Fleet, recommended that the Royal Navy Victualling Yard be relocated to the Rosia Bay area, just south of the New Mole.


texts:
 Governor O'Hara did not approve of St Vincent's plan as he proposed to finance it by selling the naval stores at Waterport and Irish Town. However, St Vincent had poor regard for O'Hara, who let the garrison enjoy the ninety pubs on the Rock. It has been proposed that he needed the income to finance his many households and mistresses. St Vincent, however, won with regard to his navy's needs. The poor morale in the garrison led to a plot to let Spain have Gibraltar. O'Hara discovered the plot and 1,000 people were exiled from the Rock.He died in Gibraltar on 21 February 1802, from complications due to his old wounds and was buried on 25 February. In popular culture
In the Roland Emmerich film The Patriot starring Mel Gibson, <mask>'Hara was played by Peter Woodward. O'Hara was portrayed by Collin Sutton in the television show Turn: Washington's Spies. John Means portrayed Brigadier General <mask>'Hara in the MGM miniseries "George Washington" in 1984. References

Bibliography
 Babits, Lawrence Edward & Howard, Joshua B. Long, Obstinate and Bloody: The Battle of Guilford Courthouse. University of North Carolina Press, 2009.Bicheno, Hugh. Redcoats and Rebels: The American Revolutionary War. Harper Collins, 2003. Fredriksen, John C. Revolutionary War Almanac. Infobase Publishing, 2006. 1740 births
1802 deaths
British Army generals
British Army personnel of the American Revolutionary War
British Army personnel of the French Revolutionary Wars
Cheshire Regiment officers
Governors of Gibraltar
People educated at Westminster School, London
3rd Dragoon Guards officers
74th Highlanders officers
Coldstream Guards officers
British people of Portuguese descent
Irish colonial officials
British Army personnel of the Seven Years'

masks:
Charles O
Charles O


texts:
<mask> (September 15, 1923 – November 27, 2016) was an American historian who was a professor in the Department of History at the Massachusetts Institute of Technology. His work focused on historiography and philosophy of history, history of science and technology, artificial intelligence, history of the social sciences, the two cultures and bridging the humanities and sciences (natural and social), revolution, psychohistory, history of globalization and the history of global citizenship. He worked to build the latter two fields of inquiry into a public intellectual movement, through initiatives such as the New Global History conferences. Early life and education
<mask> was born in Brooklyn, New York, in 1923. His father, <mask>, had immigrated as a teenager from what was then Russia. A largely self-taught engineer and entrepreneur, <mask> started a laundry service for which he developed much of the equipment. He married Lee Reuben in 1919, and had three children, of whom <mask> was the middle, with an older brother Robert and a younger sister, Elaine.<mask> attended local public primary schools in Brooklyn, and then elected to go to Boys High School, which drew its students on a city-wide basis. Upon graduation he entered Columbia University in 1940. Having enlisted in the Officer's Reserve Corps, <mask> was called up in 1943, and underwent basic training in the US infantry. Subsequently he served in the Office of Strategic Services, assigned to the East Asian arena,

masks:
Bruce Mazlish
Bruce Mazlish
Louis Mazlish
Louis Mazlish
Bruce
Bruce Mazlish
Mazlish


texts:
 in Morale Operations. When the war ended, Columbia granted him a catch-up BA dated 1944. <mask> worked as a journalist at The Washington Daily News (now defunct) for half of a year, spent a year with his wife in Mexico working on a novel, and then worked at a third-rate prep school, teaching English (for which he was qualified) and History (which he learned by reading one chapter ahead of his students). Teaching the latter gave him an original view of the discipline, and the G.I.Bill drove educational expansion and demand for teachers in the post-WWII years. In this way, <mask> stumbled onto the path of the academic world, teaching history for two years at the University of Maine, Brunswick campus, and then completing advanced degrees at Columbia University in literature (MA thesis: “Defoe: Criminologist,” 1947) and then a Ph.D in Modern European History, where he worked mainly under Professors Shepherd Clough and Jacques Barzun (thesis on “Burke, Bonald and De Maistre: A Study in Conservative Thought”, 1955)." Scholarship

<mask> was hired as an instructor at MIT in 1955. He became full Professor in the MIT History Department in 1965. Aside from a couple of years when he completed his PhD, and then a few years teaching and researching abroad, he remained in active teaching at MIT until fall 2003, when he assumed emeritus status. Some of his course offerings included "Marx, Darwin and Freud," "Modernity, Post-modernity and Capitalism," and "The New Global History."

masks: Mazlish Mazlish Mazlish


texts: <mask> was an editor of, and contributor to, several collected volumes, and the author of over two dozen books (with translations into six different languages), as well as several dozen more articles and reviews in over two dozen peer-reviewed journals (a couple of which he founded) in addition to various periodicals.Notable among his publications are: The Western Intellectual Tradition (1960; co-authored with Jacob Bronowski, this became a classic used in university courses and translated into many languages), Psychoanalysis and History (1963 edited volume), The Riddle of History: The Great Speculators from Vico to Freud (1966), The Revolutionary Ascetic (1976), A New Science: The Breakdown of Connections and the Birth of Sociology (1989), The Leader, the Led, and the Psyche (1990), Conceptualizing Global History (1991, co-edited with Ralph Buultjens), The Fourth Discontinuity: The Co-Evolution of Humans and Machines (1993), The Uncertain Sciences (1998), The Global History Reader (2005, co-edited with Akira Iriye, based on a course co-taught at Harvard in 2004), The New Global History (2006), and The Idea of Humanity in a Global Era (2009). He also wrote psychohistorical biographies on Richard Nixon (written at the time of the Watergate hearings, and receiving wide popular attention and acclaim), Henry Kissinger, and James and John Stuart Mill. His articles appeared in peer-reviewed journals such as History and Theory, American Historical Review, Historically


texts: Speaking, and New Global Studies, as well as periodicals for a more general audience, including Book Review Digest, Center Magazine, Encounter, The Nation, The New Republic, New York Magazine, and The Wilson Quarterly. Reviews of his books appeared in a wide range of publications, including The Christian Science Monitor, Fortune Magazine, The New York Review of Books, and The New York Times. In 1960, he was a founding associate editor of History and Theory, helping to edit it for ten years. In 1969 he was instrumental in the establishment of the Journal of Interdisciplinary History, helping to secure its financial and institutional footing, and serving on its Board of Advisors from its founding until his death. Mazlish was substantively involved in the major ongoing activity of the Toynbee Foundation, the New Global History Initiative, which organized several international conferences and since 2007 has published the New Global Studies Journal (a peer-reviewed electronic journal).<mask> was one of the editors, along with Nayan Chanda (Yale), Akira Iriye (Emeritus, Harvard), Saskia Sassen (Columbia), and Kenneth Weisbrode (Managing Editor). <mask> was also one of the founding members of the Wellfleet Psychohistory Group. In 2004, the journal Historically Speaking, on the occasion of an interview with <mask>, conducted by its editor, Donald Yerxa, described him as "identified with several seemingly disparate intellectual pursuits", including psychohistory, the history of


texts:
 the social sciences, and the new field of "global history", which he was then helping to shape. Awards and honors

<mask> was elected a fellow of the American Academy of Arts and Sciences in 1967. The Academy funded a project examining the feasibility of psychohistory; <mask> was a primary investigator, along with Erik Erikson, Philip Rieff, Robert Lifton, and others. In 1972-73 <mask> was a recipient of a Social Science Research Council Faculty Fellowship and made a Visiting Member of the Institute for Advanced Study. From 1974 to 1979, <mask> served as Head of MIT’s Department of Humanities (Course XXI).At the time, there were 11 “sections” representing their disciplines (this amounted to about 140 faculty), an unwieldy administrative structure. When he stepped down, he recommended that each section became an autonomous department; this occurred a few years later. <mask> received the Toynbee Prize for 1986-87. Other recipients include George F. Kennan, Ralf Dahrendorf, Arthur M. Schlesinger, Jr., and Albert O. Hirschman. He also served on the Board of Trustees (1992-2007), and as President (1997-2006), of the Toynbee Prize Foundation, which is an affiliated society of the American Historical Association, and sponsors one session at the Association's annual meeting, when the prize is awarded. <mask> served on the Scholars Council for the Kluge Prize of the Library of Congress, 2000-2003, and on the governing board of the Rockefeller Archive Center, 1999-2005. Invited

masks: Mazlish Mazlish Mazlish Mazlish Mazlish Mazlish


texts:
 lectures included the Remsen Bird Honorary Lecture at Occidental College, the Presidential Lecture at Brown University, along with innumerable others in the United States and abroad, including in Argentina, India, Great Britain, and Russia."The MIT History faculty held a symposium, "World into Globe – History for the 21st Century" to celebrate his work and teaching in 2011. <mask>'s books received several honors, including the Hudson Book Club Selection, Book Find Club Selection, and Kayden National Book Award (1994-1995, for his 1993 The Fourth Discontinuity. Personal life

<mask> was married to Neva Goodwin, daughter of David Rockefeller, an economist and co-director of the Global Development And Environment Institute at Tufts University, with whom he published and edited several works. Previously, he was married to Constance Shaw (fellow OSS officer in WWII), and to Anne Austin. He had two children from his first marriage, Cordelia and Peter Shaw, two from his second, Anthony and <mask>, and two stepchildren, David and Miranda Kaiser. He passed on November 27, 2016 in Cambridge, Massachusetts, and was eulogized in The New York Times, by several at the Toynbee Prize Foundation, by MIT News, and at an MIT Memorial service. Bibliography
(1960) with Jacob Bronowski The Western Intellectual Tradition: From Leonardo to Hegel (New York/London: Harper and Row).(1963) Revised edition (England: Penguin Books). (1962) Italian translation (Milan: Edizioni di Communita). (1963)

masks:
Mazlish
Mazlish
Jared Mazlish


texts:
 Spanish translation (Madrid: Editorial Norte y Sur). (2012) Turkish translation (Ankara: Say Yayinlari). (1963) Editor, Psychoanalysis and History (Englewood Cliffs, NJ: Prentice-Hall). (1971) Revised edition (New York: Grosset and Dunlap). (1965) Editor with Introduction, The Railroad and the Space Program: An Exploration in Historical Analogy (Cambridge: MIT Press).(1966) The Riddle of History: The Great Speculators from Vico to Freud (New York/London: Harper and Row). (1968) Paperback edition (New York: Minerva Press). (1971) Co-Editor with A. D. Kaledin and D. B. Ralston Revolution: A Reader (New York: Macmillan). (1972) In Search of Nixon: A Psychohistorical Inquiry (New York: Basic Books). (1973) Paperback edition (Baltimore, MD: Penguin Books). (2014) Reissued (New Brunswick, NJ: Transaction Press), with a new Introduction, "Stress, Crisis, and Psychohistory: In Search of Nixon, by Howard G. Schneiderman
(1973) Japanese translation (Tokyo: The Simul Press). (1973) Dutch translation (Amsterdam: Uitgeverij De Lage Landen B.V.).(1975) James and John Stuart Mill: Father and Son in the 19th-Century (New York: Basic Books). (1988) Paperback edition with new introduction (New Brunswick, NJ: Transaction Press). (1976) Kissinger: The European Mind in American Policy (New York: Basic Books). (1977) French translation (Presses Universitaires de France). (1976) The Revolutionary Ascetic: Evolution of a Political Type (New York: Basic Books). (2014) Paperback edition with


texts:
 new preface (New Brunswick, NJ: Transaction Publishers). (1979) with Edwin Diamond Jimmy Carter: A Character Portrait (New York: Simon and Schuster).(1984) The Meaning of Karl Marx (New York: Oxford University Press). (1988) Second edition (New York: Oxford University Press). (1989) A New Science: The Breakdown of Connections and the Birth of Sociology (New York: Oxford University Press). (1993) Paperback edition (University Park, PA: Pennsylvania State University Press). (1990) The Leader, the Led, and the Psyche (Hanover/London: University Press of New England). (2013) Paperback edition with new preface (New Brunswick, NJ: Transaction Publishers). (1993) Co-Editor with [www.scps.nyu.edu/content/scps/faculty/faculty-profile.html?id=5918&name=Ralph-Buultjens Ralph Buultjens],  Conceptualizing Global History (Boulder, CO: Westview Press).(1993) The Fourth Discontinuity: The Co-Evolution of Humans and Machines (New Haven: Yale University Press)
(1995) Paperback edition (New Haven: Yale University Press). (1995) Spanish translation (Madrid: Alianza Editorial). (1995) Japanese translation (Tokyo: Japan UNI Agency, Inc.). (1996) German translation (Insel Verlag). (2001) Korean translation (Seoul: ScienceBooks). (1996) Co-Editor with Leo Marx, Progress: Fact or Illusion? (Ann Arbor: University of Michigan Press)
(1998) Paperback edition.(1998) The Uncertain Sciences (New Haven: Yale University Press). (2007) Paperback edition (New Brunswick, NJ: Transaction Publishers).


texts:
 (2004) Civilization and Its Contents (Stanford, CA: Stanford University Press). (forthcoming) Arabic translation. (forthcoming) Chinese translation. (2005) Co-Editor with Alfred D. Chandler, Jr. Leviathans: Multinational Corporations and the New Global History (UK: Cambridge University Press). (2006) Korean translation (Seoul: Veritas Books).(2005) Co-Editor with Akira Iriye, The Global History Reader (New York: Routledge). (2006) The New Global History (New York/London: Routledge). (2007) Co-Editor with Nayan Chanda and Kenneth Weisbrode, The Paradox of a Global USA (Stanford, CA: Stanford University Press). (2009) The Idea of Humanity in a Global Era (New York: Palgrave Macmillan), with a preview here. (2013) Reflections on the Modern and the Global (New Brunswick, NJ: Transaction Publishers). (2015) Globalization and Transformation (New Brunswick, NJ: Transaction Publishers). his personal blog, where he has written about current events

Selected articles
The Conservative Revolution of Edmund Burke, The Review of Politics 20:1 (Jan., 1958), pp.21–33
History and Morality, The Journal of Philosophy 55:6 (Mar. 13, 1958), pp. 230–240
The Idea of Progress, Daedalus 92:3, Themes in Transition (Summer 1963), pp. 447–461
The Fourth Discontinuity, Technology and Culture 8:1 (Jan., 1967), pp. 1–15
Group Psychology and Problems of Contemporary History, Journal of Contemporary History 3:2, Reappraisals (Apr., 1968), pp. 163–177
The French Revolution in Comparative


texts:
 Perspective, Political Science Quarterly 85:2 (Jun., 1970), pp. 240–258.What is Psychohistory?, Transactions of the Royal Historical Society 21, Fifth Series (1971), pp. 79–99. The Tragic Farce of Marx, Hegels, and Engels: A Note, History and Theory 11:3 (1972), pp. 335–337. Following the Sun, The Wilson Quarterly 4:4 (Autumn, 1980), pp. 90–93. Crèvecoeur's New World, The Wilson Quarterly 6:4 (Autumn, 1982), pp.140–147. The Quality of The Quality of Science: An Evaluation, Science, Technology, & Human Values 7:38 (Winter, 1982), pp. 42–52. The Wealth of Adam Smith (with Neva Goodwin), Harvard Business Review 4:52 (Jul/Aug 1983), pp. 52ff. The American Psyche, in 1990, The Leader, the Led and the Psyche, (Hanover/London: University Press of New England
The Question of The Question of Hu, History and Theory 31:2 (May, 1992), pp. 143–152.A Triptych: Freud's The Interpretation of Dreams, Rider Haggard's She, and Bulwer-Lytton's The Coming Race, Comparative studies in society and history 35:4 (Oct. 1993), pp. 726–745. Some Observations on the Psychology of Political Leadership, Political Psychology 15:4 (Dec., 1994), pp. 745–753. Christopher Fox, Roy Porter, and Robert Wokler eds., Inventing Human Science: Eighteenth-Century Domains (review), The American Historical Review 102.2 (1997), pp. 444–445. Psychohistory and the Question of Global Identity, Psychohistory Review' 25 (1997), pp.165–176. Comparing global history to world history, Journal of interdisciplinary History


texts: (1998), pp. 385–395. A Tour of Globalization, Indiana Journal of Global Legal Studies 7 (1999), pp. 5. On voluntary servitude: False consciousness and the theory of ideology, Journal of the History of the Behavioral Sciences 34:2 (Spring 1998), pp. 195–197.Big questions? Big history? History and Theory 38:2 (1999), pp. 232–248. For Charlie and Nick [a review of: Harry Collins and Martin Kusch, The Shape of Actions: What Humans and Machines Can Do], Nature 398:6727 (1999), pp. 478–479. Jürgen Osterhammel, Colonialism: A Theoretical Overview [trans.Shelley L. Frisch] (review), Journal of World History 10.1 (1999), pp. 232–234. The Norton History of the Human Sciences (review)." Journal of Interdisciplinary History 30.2 (1999), pp. 294–296. Before the great binary divide, Nature 404:6777 (2000), pp. 434–435.Ernst Cassirer's Enlightenment: An Exchange with Robert Wokler, Studies in Eighteenth-Century Culture 29.1 (2000), pp. 349–359. Invisible Ties From Patronage to Networks, Theory, culture & society 17.2 (2000), pp. 1–19. The Art of Reviewing, Perspectives on History: The News Magazine of the American Historical Society, Feb. 2001. Civilization in a historical and global perspective, International sociology 16.3 (2001), pp. 293–300.Noel Parker Revolutions and History: An Essay in Interpretation (review), The American Historical Review 106:3 (2001), pp. 925–926. Reflections on the human sciences and their history, History of the Human Sciences 14.4 (2001), pp. 140–147.


texts:
 Empiricism and History, Historically Speaking 4.3 (2003), pp. 12–14. The Past and Future of Psychohistory, Annual of Psychoanalysis 31 (2003), pp.251–262. A Tale of Two Enclosures Self and Society as a Setting for Utopias, Theory, culture & society 20:1 (2003), pp. 43–60. 1897, Historically Speaking 6:6 (2005), pp. 23–23. Big History, Little Critique, Historically Speaking 6:5 (2005), pp. 43–44.The global and the local, Current Sociology 53:1 (2005), pp. 93–111. The Hi-jacking of Global Society? An Essay, Journal of Civil Society 1:1 (2005), pp. 5–17. The Hi-jacking of Global Society? A Rebuttal, Journal of Civil Society 1:2 (2005), pp.191–193. Roudometof: A dialogue, Current Sociology 53:1 (2005), pp. 137–141. Global history, Theory, Culture & Society 23:2-3 (2006), pp. 406–408. Progress in History, Historically Speaking 7.5 (2006), pp. 18–21.Revisiting Barraclough's Contemporary History, New Global Studies 2:3 (2008)
Globalization Nationalized, New Global Studies 3:3 (2009). The Joy of War and the Future of Humanity, New Global Studies 4:3 (2011). Ruptures in history, Historically Speaking 12:3 (2011), pp. 32–33. Social Bonding, Globalization, and Humanity, New Global Studies 5:3 (2011). Crimes and Sovereignty, New Global Studies 6:1 (2012). From the Sentiment of Humanity to the Concept of Humanity, Historically Speaking 13:3 (2012), pp.30–33. Three Factors of Globalization: Multinational Corporations, Non-Governmental Organizations, and Global Consciousness,


texts:
 Globality Studies Journal (2012). The New Global Merchants of Light, New Global Studies 7:1 (2013), pp. 25–31. The Imprint of the Global, New Global Studies'' 8:2 (2014), pp. 177–182. References

External links
 MIT Video Lecture: Considering Jerusalem
 World into Globe I: Introductory Remarks by Philip S. Khoury at the symposium held in honor of Professor <mask> at MIT on May 11, 2011
 A media studies perspective on <mask>'s book The Fourth Discontinuity

1923 births
2016 deaths
Historians from New York (state)
MIT School of Humanities, Arts, and Social Sciences faculty
Intellectual historians
Fellows of the American Academy of Arts and Sciences
Boys High School (Brooklyn) alumni
Columbia College (New York) alumni
Rockefeller family
United States Army personnel of World War

masks:
Bruce Mazlish
Mazlish


texts: <mask> (born <mask>; 3 January 1865 – 15 August 1936) was an English actor and singer who was the leading exponent of the comic patter-baritone roles in Gilbert and Sullivan operas from 1909 to 1934. He also starred in musical comedies. His career with the D'Oyly Carte Opera Company spanned 50 years, and he is the only person ever knighted for achievements as a Gilbert and Sullivan performer. <mask> was born in London; he studied there with a painter but then went on the stage in defiance of his family's wishes. At the age of 19 he married Louie Henri, an actress and singer who helped him gain a place in a D'Oyly Carte touring company in 1884. After briefly playing in other companies, he and his wife rejoined D'Oyly Carte. He had an early breakthrough in 1887 when the Savoy Theatre star George Grossmith fell ill, and the 22-year-old <mask> went on for him in Ruddigore.<mask> starred in D'Oyly Carte touring companies from 1887 to 1897, playing mostly the comic patter roles in the Gilbert and Sullivan (and other) operas. From 1897 to 1903 he appeared with the company continuously at the Savoy Theatre, playing a range of baritone parts, from romantic leads to character parts in new operas and revivals. During this time a brief and costly attempt at theatrical production in London led to him abandoning thoughts of being an impresario. The D'Oyly Carte company left the Savoy Theatre in 1903, and Lytton appeared in half a dozen West End musical comedies over the next four years, including The Earl and the Girl, The Spring Chicken and The

masks:
Sir Henry Lytton
Henry Alfred Jones
Lytton
Lytton
Lytton


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 Little Michus. He also wrote for, and performed in, music hall and wrote a libretto. During the two D'Oyly Carte repertory seasons at the Savoy between 1906 and 1909, Lytton rejoined the company, again playing a variety of roles, but mostly not the patter roles. Beginning in 1909, and continuously to 1934, he was the principal comedian of the D'Oyly Carte Opera Company in London and on tour.Life and career

Early years

<mask> was born as <mask> Jones on 3 January 1865 in Pembroke Square, Kensington, London, the son of <mask> (1829–1893), a jeweller, and his second wife Martha Lavinia, née Harris. According to his highly unreliable memoirs he was educated at St Mark's School, Chelsea, and took part there in amateur theatricals and boxing. He studied art with the painter W. H. Trood. It is unclear whether the studies were part-time or full time, or during his schooldays or later. In 1881 <mask> made his first appearance on the professional stage at the Philharmonic Theatre, Islington, in the comic opera A Trip to China, or The Obstinate Bretons, in the cast of which was his future wife, Louie Henri, daughter of William Webber, of London. They married in early 1884, both aged 19, at St Mary Abbots church, Kensington. Lytton was estranged from his father, who disapproved of Lytton's and Henri's profession, and neither family attended the ceremony.Henri played an important part in Lytton's early theatrical career, coaching him in acting, and playing the piano to help him learn his musical parts. In February 1884 the two joined one of

masks:
Lytton
Henry Alfred
Henry Jones
Lytton


texts: Richard D'Oyly Carte's touring companies. She played the small role of Ada in the first provincial tour of Gilbert and Sullivan's Princess Ida; he sang in the chorus and understudied the principal comic role of King Gama. According to his memoirs, Henri had obtained an audition for him, passing him off as her brother – "H. A. Henri" – in the mistaken belief that married couples were not welcome in Carte's companies. Any pretence was quickly abandoned, but Lytton kept the stage name Henri until 1887. The tour ended in December, and the following month the couple's first child, Ida Louise, was born. Henri and <mask> rejoined the D'Oyly Carte tour when it resumed in February 1885, continuing until May.After this, they joined with other out-of-work actors and travelled from town to town in Surrey for just over two months, performing a drama, All of Her, a comedy, Masters and Servants, and Dibdin's ballad opera The Waterman. <mask>'s memoirs record that they made little money, and the struggling young actors sometimes went hungry. Between theatrical engagements Lytton took odd jobs, including putting his artistic training to use by painting decorative plaques. He was taken on by another of Carte's touring companies from September to December 1885, after which he and Henri were in the 1885 Christmas pantomime at the Theatre Royal, Manchester. In May 1886 they were in the chorus of The Lily of Leoville in Birmingham, and then of Erminie at the Comedy Theatre, London. At the end of 1886 <mask> was engaged by Carte to appear at the Savoy

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 Theatre. Eric Lewis, who had been understudying George Grossmith in the comic patter roles since 1882, left the D'Oyly Carte company.<mask> was appointed to replace him, understudying the role of Robin Oakapple in the new Savoy opera, Ruddigore, which opened on 22 January 1887. A week later Grossmith fell ill. Between 31 January and 15 February, <mask> appeared in the role. When he went back to the chorus on Grossmith's return, W. S. Gilbert presented him with a gold-mounted walking stick in appreciation of his performance. Principal comedian on tour 1887 to 1897

From April 1887 <mask> played Robin in his own right in two of Carte's touring companies, the first performing in medium-sized towns and the second in the major provincial cities. During the year, at Gilbert's suggestion, he changed his stage name from H. A. Henri to <mask><mask>. He received good notices, more for his acting than his singing.One reviewer wrote, "Mr <mask><mask>, though not shining as a vocalist, was in every way an admirable Robin Oakapple"; another praised the "light but masterly touch" with which he transformed himself from the innocent Robin of Act 1 to the bad baronet of Act 2. On tour Lytton gradually added to his repertoire the comic patter roles in many of the other Gilbert and Sullivan operas, beginning with Sir Joseph Porter in H.M.S. Pinafore (1887), the Major General in The Pirates of Penzance, Ko-Ko in The Mikado and Jack Point in The Yeomen of the Guard (all 1888). He later described the last of these as his favourite part. The creator of

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. Lytton
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. Lytton


texts: the role, Grossmith, was celebrated as a comic performer and did not emphasise the tragic side of the part; both <mask> and his colleague George Thorne in another touring company did so, portraying Point's collapse at the end as fatal. Gilbert and Carte approved, and the interpretation became standard. In 1890 <mask> played the Duke of Plaza-Toro in the latest Savoy opera, The Gondoliers, on tour and on Broadway, where Carte sent him with other D'Oyly Carte principals, to bolster the weak cast of the original New York production.After returning to Britain he added another of Grossmith's old roles to his repertory, playing the Lord Chancellor in Iolanthe. In the first provincial production of Utopia, Limited (1893) he played King Paramount – not a patter role but the main baritone part – created at the Savoy by Rutland Barrington. He played the title role in The Sorcerer and Bunthorne in Patience for the first time in 1895, and later in 1895 King Gama in Princess Ida, finally appearing in the role he had understudied in his first season with D'Oyly Carte eleven years earlier. In 1896 he toured as Ludwig in the final Gilbert and Sullivan opera, The Grand Duke. In most of these provincial tours <mask>'s wife was a fellow member of the company. During them he also appeared in Savoy operas by librettists or composers other than Gilbert and Sullivan, playing the title role in The Vicar of Bray (1892), Flapper in Billie Taylor (1893: "Mr <mask>. <mask> scored immensely by his clever impersonation of Captain the Hon. Felix Flapper, R.N, –

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Lytton
Lytton
Henry A
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 his efforts were rewarded by sustained applause and laughter"), Bobinet in Mirette (1895) and Peter Grigg in The Chieftain (1895)

The Savoy: 1897 to 1903

<mask> was called to London in 1897 to play King Ferdinand in the new Savoy opera, His Majesty.He was an emergency replacement for Grossmith who had returned to the Savoy after nine years to star in the piece, but had withdrawn from the production in the first week of the run, pleading ill health. <mask>'s performance won critical approval, but the piece did not please the public and was withdrawn after 61 performances. Such comedy as there was in His Majesty was given to Walter Passmore. He had succeeded Grossmith as the Savoy's principal comedian and was principal exponent of the patter roles there until 1903. After His Majesty closed, <mask> remained in the Savoy company – joined the following year by his wife – playing a wide range of other baritone roles, from comic to romantic and serious. His only patter role during this period was Major General Stanley in a revival of The Pirates of Penzance (1900), in which Passmore took the part of the Sergeant of Police. Between 1897 and 1903 Lytton's Gilbert and Sullivan roles at the Savoy were Wilfred Shadbolt in The Yeomen of the Guard, Giuseppe in The Gondoliers, the Learned Judge in Trial by Jury, Dr Daly in The Sorcerer, Captain Corcoran in H.M.S.Pinafore, Grosvenor in Patience, and Strephon in Iolanthe. In operas not by Gilbert and Sullivan he created nine roles: Prince Paul in The Grand Duchess of Gerolstein (1897), Simon


texts:
 Limal in The Beauty Stone (1898), Baron Tabasco in The Lucky Star (1899), Sultan Mahmoud in The Rose of Persia (1899), Charlie Brown in the curtain raiser Pretty Polly (1899), Ib's Father in Ib and Little Christina (1901), Pat Murphy in The Emerald Isle (1901), the Earl of Essex in Merrie England (1902), and William Jelf in A Princess of Kensington (1903). While appearing at the Savoy, Lytton made a brief and unsuccessful attempt at theatrical production. He and some partners leased the Criterion Theatre to stage The Wild Rabbit, a farce by George Arliss, which had done well in a provincial tour. The reviews were reasonably favourable, but the production opened during a heat wave in the summer of 1899 and played for only three weeks, sustaining over £1,000 in losses. A second investment later in the year, in Melnotte, an operatic version of the comedy The Lady of Lyons, also lost money, after which Lytton abandoned thoughts of being  an impresario. West End: 1903 to 1909
After the run of A Princess of Kensington ended in May 1903 the company toured the piece and then dispersed.After 1903 a single D'Oyly Carte touring company continued to appear in the provinces. The Savoy closed, reopening the following year under a different management. Many of the former Savoy company, including Isabel Jay, Robert Evett, Barrington, Passmore and Lytton continued to appear in the West End in musical comedies, many of which had long runs. Between 1903 and 1907 Lytton appeared in West End productions by William Greet, George Edwardes, Seymour Hicks


texts: and Frank Curzon. He starred in The Earl and the Girl and Little Hans Andersen, (1903, alongside Passmore); The Talk of the Town (1905, also with Passmore); The Little Michus (1905, with Evett); The White Chrysanthemum (1905, with Barrington and Jay); The Spring Chicken (1905); and My Darling (1907). Apart from his musical comedy roles, he wrote for and performed in the music halls. In 1904 he wrote the libretto for a one-act operetta, The Knights of the Road, set to music by Sir Alexander MacKenzie, which was well received at its premiere at the Palace Theatre of Varieties in February 1905.The Musical Standard commented favourably on the piece and its "unmistakably Savoy flavour". <mask> performed in music hall sketches with Connie Ediss in 1906 and Constance Hyem in 1908. Lytton wrote that greatly as he enjoyed, and profited from, his musical comedy roles, he found them shallow and superficial compared with the Savoy Operas, to which he was glad to return in 1907. He appeared at the Savoy in Helen Carte's first London repertory season of Gilbert and Sullivan in June of that year, playing Strephon. When she presented a second London repertory season, from April 1908 to March 1909, he played in all five operas staged, as the Mikado; Dick Deadeye in H.M.S. Pinafore; Strephon; the Pirate King in The Pirates of Penzance; and Giuseppe in The Gondoliers. The patter roles were played by C.H.Workman, seconded from the year-round touring company.At the end of the season Workman left to pursue a career as an actor-manager; <mask> took over

masks: Lytton Lytton


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 the patter roles in the touring company, in which his fellow principals included Fred Billington, Clara Dow, Sydney Granville, Louie René and Leicester Tunks. Principal comedian: 1909 to 1934
Helen Carte died in 1913, and the opera company was inherited by her stepson Rupert D'Oyly Carte. Although he wrote in 1922 that "the scope and versatility" of <mask>'s work was unique, three years earlier, when planning the company's first London season for more than ten years, Carte had hoped to persuade Workman, who was in Australia, to return. Workman declined, and <mask> remained in possession of the patter roles both in London and on tour for the rest of his career. After the opening night of the 1919–20 London season at the Prince's Theatre, in which he played the Duke of Plaza-Toro, The Observer commented:

Lytton starred in three later seasons at the Prince's (1921, 1924 and 1926), in tours of Canada in 1927 and 1928 and the US in 1929, and in London seasons at the Savoy in 1929–30 and 1932–33. Carte attempted to balance respect for tradition with the desire to keep productions fresh. Lytton approved of the new costumes commissioned by Carte, but strongly disapproved of, and battled against, the brisk tempi imposed by Malcolm Sargent, the young conductor brought in as musical director for the London seasons of 1926 and 1929–30.<mask>, who could not read music, had learnt his parts by rote, and had trouble with what he called "the twiddly bits"; The Times commented in 1926 that he "shows more respect for Gilbert's words than for


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 Sullivan's notes, though he still manages to give the gist even of the latter". Sargent studied Sullivan's manuscripts, and for some numbers set tempi that <mask> found difficult to cope with. There were rows at rehearsal and sometimes open disagreement in performances, with <mask> deliberately lagging behind Sargent's beat. <mask> was knighted in the 1930 Birthday Honours; he is the only person to have received the accolade for achievements as a Gilbert and Sullivan performer. The award was celebrated by international press such as The Scotsman, The Los Angeles Times and The Ottawa Citizen. In May the following year <mask>, driving in heavy rain, crashed his car; his passenger, his fellow D'Oyly Carte principal Bertha Lewis, was killed, and he was injured. He was absent for six weeks, during which Martyn Green, his understudy and eventual successor, took over his roles.In August 1931 <mask> permanently handed over two of his roles to Green – Robin Oakapple and the Major General. <mask>'s last central London appearance was as Ko-Ko at the Savoy in January 1933. He then toured with the D'Oyly Carte company until 30 June 1934, making his final appearance at the Gaiety Theatre, Dublin as Jack Point. He was the last remaining member of the company to have performed under the direction of both Gilbert and Sullivan. In his memoirs he listed thirty different roles in Gilbert and Sullivan operas he had played during his career. Last years

After retiring from the D'Oyly Carte company <mask> made his last stage appearance as the Emperor of

masks: Lytton Lytton Lytton Lytton Lytton Lytton Lytton


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 China in Aladdin, the Christmas pantomime at the Prince of Wales Theatre, Birmingham in 1934–35. It was also his last broadcast performance, being relayed by the BBC on New Year's Day, 1935.<mask> died at his home in Earls Court, London, in 1936 at the age of 71; he was survived by his wife, Louie Henri, who died in 1947, their two sons, including <mask>, Jr. (1906–1965), whose high-profile marriage to Jessie Matthews in 1925 ended in divorce in 1930, and two daughters, Bessie Ena <mask> Elverston (1904–1995)  and Ida Louise <mask>-Gay (1883–1979). Another son, Percy Arthur Bertram <mask> (1893–1918), was killed in February 1918 while serving in the Royal Flying Corps, and two others died in infancy. In an appreciation in  The Manchester Guardian, Neville Cardus wrote:

Recordings, film and broadcasts
Lytton featured prominently in early gramophone recordings. As early as 1902–03 the Gramophone Company (HMV) was promoting him as one of its stars along with performers ranging from Enrico Caruso, Edvard Grieg and Joseph Joachim to Dan Leno, Marie Lloyd and George Robey. His recordings between 1901 and 1905 include "My Cosy Corner Girl" from The Earl and the Girl, which was something of a best-seller. Twenty-five of his recordings were collected on the 1982 LP set "The Art of Henry Lytton". It contains eight Gilbert and Sullivan numbers from five operas, and songs from three other shows in which he appeared – Merrie England, A Princess of Kensington and The Earl and the Girl – and three he did not appear in – A Country Girl, The

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Lytton
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texts: Toreador and The Girl from Kay's.The set also contains four non-show songs, including one of his own composition. George Baker, who sang several of <mask>'s roles in HMV recordings in the 1920s and 1930s, later described Lytton's voice as "light, tenory, thinnish", but added that in the theatre "he persuaded me that he was a good baritone – he wasn't, really, but he was such a supreme actor … that he could persuade you he could sing splendidly". By the time HMV began using D'Oyly Carte principals in its recordings of the Savoy operas in the mid-1920s, <mask>'s voice was not thought suitable for the gramophone, and he was included in only Princess Ida in 1924 (acoustic) and 1932 (electrical), The Mikado in 1926, The Gondoliers in 1927, and H.M.S. Pinafore in 1930, his other roles being sung by Baker. When the 1930 H.M.S. Pinafore was released, Cardus wrote in The Manchester Guardian, "It was high time something was done to send down to posterity the genius of the greatest of all surviving artists in Gilbert and Sullivan. The omission of <mask>'s voice from the [1930] Iolanthe was a blunder of the first importance … there is no mistaking the Lytton accent, the old kindly yet pungent tones".<mask> sang Ko-Ko in a 1926 BBC radio broadcast of two thirty-minute excerpts from The Mikado, and appeared in the same role in a four-minute-long silent promotional film for the D'Oyly Carte production in the same year. In January 1933 the BBC broadcast the last night of the D'Oyly Carte London season, which marked <mask>'s last appearance in the

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 West End. He sang Ko-Ko in Act 1 of The Mikado. On Christmas Day of the same year, while the company was playing in the London suburb Golders Green, Lytton – described by the BBC as the "G&S star of stars" – performed in a broadcast of Act 2 of The Mikado from a radio studio in London, with Isidore Godfrey conducting a BBC orchestra and the D'Oyly Carte cast. Notes, references and sources

Notes

References

Sources

External links

 <mask> at "Who Was Who in the D'Oyly Carte
 <mask>'s Farewell at The Gilbert & Sullivan Discography

 Profile of Lytton
 Articles regarding Lytton's farewell from the stage

1865 births
1936 deaths
People from Kensington
English male singers
English male musical theatre actors
Knights Bachelor
Singers awarded knighthoods
Actors awarded

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Henry Lytton
Henry Lytton


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<mask> is a British tenor saxophonist, clarinetist, flautist, producer, arranger and composer, born 9 September 1966, in Sutton Coldfield, Warwickshire, England. He is married to singer Stacey Kent. Early life

<mask> was born in Sutton Coldfield, Warwickshire, England. He grew up in Northumberland, then attended Oxford University where he studied Philosophy, Politics and Economics. Meanwhile, he was playing clarinet and saxophones, mostly the tenor, and developing his interest in jazz. In his postgraduate year he studied at London's Guildhall School of Music and Drama and began to establish himself on the local jazz scene. His reputation quickly spread and he was soon working with noted musicians, including Matt Wates, Humphrey Lyttelton and Michael Garrick, recording with the latter on his 1997 session For Love Of Duke And Ronnie.In the 90s <mask> was frequently leader of his own quartet, touring extensively in the UK. He is also well known for his work as the counter-voice to singer and wife Stacey Kent, whom he married on 9 August 1991 and whose albums he has produced since 1997. In 2006, he began composing with Nobel Prize winning novelist Kazuo Ishiguro, who writes fanciful, mildly surreal lyrics to Tomlinson's music. <mask> and Ishiguro have co-written several songs for Kent's albums from 2007 on. Early career

<mask> did not study music formally until well into his 20s. He played saxophone and ran a band as a hobby whilst studying for his degree in Politics, Philosophy and Economics at University College, Oxford. It was only after graduating and finding himself drawn to

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Jim Tomlinson
Tomlinson
Tomlinson
Tomlinson
Tomlinson


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 London's jazz scene that he enrolled at the Guildhall School of Music and Drama in 1990.The release of his debut album as leader, Only Trust Your Heart (Candid 2000), received widespread acclaim. His follow-up CD, Brazilian Sketches (2003), was named Jazz CD Of The Week by the Observer newspaper in the UK. Since then, Tomlinson has worked in a wide variety of groups, from Bryan Ferry to the experimental big band of composer Michael Garrick. Tomlinson's own quartet has appeared at clubs and festivals across Europe. Most recently, he has toured almost exclusively with Stacey Kent in Europe, USA, Brazil and the Far East, reserving time to perform in a quintet dedicated to the music of Lester Young with fellow saxophonist and Guildhall graduate Mark Crooks. Awards
The Lyric (2005) featuring Stacey Kent (Token Records/Warner), "Album of the Year", BBC Jazz Awards
 In 2007, <mask> produced Stacey's platinum selling, Grammy-nominated Blue Note album, Breakfast on the Morning Tram, for which he also co-wrote four songs with the Nobel prize winning author Kazuo Ishiguro Their song, "The Ice Hotel", won first prize in the jazz category of the 2007 International Songwriting Competition and "So Romantic" was a finalist in the 2008 competition. Personal life

Tomlinson married American singer Stacey Kent on 9 August 1991.They are both accomplished skiers. Only touring commitments in March 2006, 2007, 2008 and 2009 prevented them from racing in the NASTAR US Championships, for which they both qualified in consecutive seasons. <mask> and his wife, who are based in England, have built up large

masks: Jim Tomlinson


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 followings in France and Germany. Their tours, since the release of Breakfast on the Morning Tram, have taken them to over 50 countries. Musical influences
Tomlinson has been greatly influenced by Stan Getz and Lester Young. <mask> and Kent have said that the early bossa nova recordings of João Gilberto, Astrud Gilberto, Antonio Carlos Jobim and Stan Getz remain the foundation of what they do. In the liner notes to one of his CDs, Tomlinson wrote: "As a fourteen year old saxophonist living in the far north of England, keen to expose himself to the world of jazz, I had a little option when shopping for records but to operate on the rule of thumb, 'if there is a saxophone on the cover, buy it.'This is how I chanced upon the cover of Getz/Gilberto. Neither of the names meant anything to me, but I was intrigued that the saxophonist on the back cover had a handkerchief stuffed down the bell of his horn (I still am!) and I bought the record. Suffice it to say that twenty years later, the music of Stan Getz is a continuing source of inspiration to me and my passion for bossa nova is unabated." Discography
2000: Only Trust Your Heart, Candid Records
2003: Brazilian Sketches, Candid Records
2006: The Lyric, Token Records/Warner

Discography as producer / performer

Close Your Eyes (Candid, 1997), performer, producer for Stacey Kent
Love Is...The Tender Trap (Candid, 1999), performer, producer for Stacey Kent
Let Yourself Go: Celebrating Fred Astaire (Candid, 2000), Performer, producer for Stacey Kent
Dreamsville (Candid, 2001), performer, producer for Stacey Kent
In Love Again: The Music of


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 Richard Rodgers (Candid, 2002), Performer, producer for Stacey Kent
The Boy Next Door (Candid, 2003), performer, producer for Stacey Kent
The Lyric, <mask>on (Token Records/Warner, 2005), Producer. Breakfast on the Morning Tram (Blue Note/EMI, 2007), performer, producer for Stacey Kent
Raconte-moi... (Blue Note/EMI, 2010), performer, producer for Stacey Kent
Dreamer in Concert (Blue Note/EMI, 2011), performer, producer for Stacey Kent
The Changing Lights (2013, Parlophone/Warner, 2013), performer, producer for Stacey Kent
Ao Vivo with Marcos Valle (Sony, 2013) Performer, Co-producer. Brazil with Quatuor Ébène, Bernard Lavilliers (Erato/Warner, 2014) Performer.Tenderly (SONY, 2015) Performer, producer for Stacey Kent
I Know I Dream: The Orchestral Sessions (SONY, 2017) Performer, producer, conductor, co-arranger for Stacey Kent

Songwriting

"The Ice Hotel", <mask> / Kazuo Ishiguro, on Stacey Kent's 2007 Grammy-nominated album, Breakfast on the Morning Tram.[17]. "I Wish I Could Go Travelling Again", <mask> / Kazuo Ishiguro – Stacey Kent's album, Breakfast on the Morning Tram. [17] (2007). "Breakfast on the Morning Tram", <mask> / Kazuo Ishiguro – Stacey Kent's album, Breakfast on the Morning Tram. [17] (2007). "So Romantic", <mask> / Kazuo Ishiguro – Stacey Kent's album, Breakfast on the Morning Tram. [17] (2007)."Sait-on Jamais? ", <mask> / Camille d"Avril – Stacey Kent's album, Raconte-moi, (2010). "Postcard Lovers", <mask> / Kazuo Ishiguro – Stacey Kent's album, "Dreamer in Concert", (2011). "O Comboio", <mask> / António Ladeira – Stacey Kent's album, "Dreamer in Concert", (2011).

masks:
Jim Tomlins
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson


texts:
 "The Summer We Crossed Europe in the Rain", <mask> / Kazuo Ishiguro – Stacey Kent's album, The Changing Lights. [18] (2013.) "Waiter, Oh Waiter", <mask> / Kazuo Ishiguro – Stacey Kent's album, The Changing Lights.[18] (2013.) "The Changing Lights", <mask> / Kazuo Ishiguro – Stacey Kent's album, The Changing Lights. [18] (2013.) "Chanson Legère, <mask> / Bernie Beaupère – Stacey Kent's album, The Changing Lights. [18] (2013.) "A Tarde", <mask> / António Ladeira – Stacey Kent's album, The Changing Lights. [18] (2013.)"Bullet Train", <mask> / Kazuo Ishiguro – Stacey Kent's album, I Know I Dream: The Orchestral Sessions (2017). "The Ice Hotel", <mask> / Kazuo Ishiguro – Stacey Kent's album, I Know I Dream: The Orchestral Sessions, (2017). "The Ice Hotel", <mask> / Kazuo Ishiguro – Quatuor Ébène, featuring Stacey Kent, album, “Brazil” (2013). "The Changing Lights", <mask> / Kazuo Ishiguro – Stacey Kent's album, I Know I Dream: The Orchestral Sessions, (2017). "I Know I Dream", <mask> / Cliff Goldmache –  Stacey Kent's album, "I Know I Dream: The Orchestral Sessions", (2017). "Make It Up", <mask> / Cliff Goldmache –  Stacey Kent's album, "I Know I Dream: The Orchestral Sessions", (2017). References
<mask>on at allmusic
Birdland review at nytimes.com
Record review at allaboutjazz.com
Brazilian-Sketches at amazon.com

External links
Official website

1966 births
Living people
English jazz tenor saxophonists
British male saxophonists
Alumni of the University of Oxford
Alumni of the Guildhall School of Music and Drama
21st-century saxophonists
21st-century British male musicians
British male

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Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlinson
Jim Tomlins


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Lieutenant-Colonel <mask>IE (22 June 1897 – 1 February 1990) was a British soldier and an historian of Central Asia. Life

<mask> was born in Bromley, Kent, England to <mask>, a Captain Army Reserve Officer, and his wife Eugenie. <mask> followed in the footsteps of his father, an infantry officer, and was commissioned into the Queen's Royal West Surrey Regiment in 1915 as a second lieutenant, and he reached the rank of captain before the end of the war. In 1918 he transferred to the Indian army. He initially served in the 1/6th Gurkha Rifles, and later in the 7th Rajput Regiment. From 1919 to 1925 he was attached to General Staff as an intelligence officer covering India, Palestine and Malta. In 1926 <mask> served in Mashhad, Iran as the British Military Attaché and he was stationed in Iraq from 1928 to 1931.<mask> spent the next decade and a half in India where he severed in the External Affairs Department, the Ministry of Information and General Staff Army Headquarters. In 1946 <mask> was stationed at the British embassy Teheran, Iran (1946–1953), where he served as both the Press and Oriental Councillor until he returned to London in 1950. He retired from the Indian Army in 1949 as a Lieutenant-Colonel. In <mask> 1953 retired from government service and founded the Central Asian Research Centre in London. He served director of the center until 1968 and editor of its journal Central Asian Review, one of the main venues for Central Asian research. He also sat as the Chairman of the Editorial Board of the Journal of the

masks:
Geoffrey Edleston Wheeler C
Geoffrey Edleston Wheeler
Owen Wheeler
Wheeler
Wheeler
Wheeler
Wheeler
Wheeler


texts:
 Royal Central Asian Society from 1961 to 1966. <mask> married Irena Bulatova in 1927, who died in 1973.They had one son. <mask> died in Surrey, England. His memoirs "Fifty years of Asia" are located at Oxford University, St Antony's College in the Middle East Centre Archive. <mask>'s career is extensively covered in Myer's Islam and Colonialism: Western Perspective on Soviet Asia. Writing

<mask>'s writing focused on the history of Central Asia from the time of the Russian conquest of the region in the mid-nineteenth century to Soviet occupation of Central Asia in the 20th century. <mask>'s work is notable because he was one of the few scholars working to promote Central Asian Studies at a time when the field was in decline due to travel and research restrictions Soviet authorities imposed on academics. <mask> engaged in the debates that raged in Central Asia Studies during the Cold War: what was the nature of Soviet colonialism in Central Asia and how was Central Asian ethnic identity formed.His books and articles were widely read amongst scholars and appear in the holdings of academic libraries around the globe. Works and related materials
 <mask> Collection: TS Memoirs 'Fifty years of Asia.' GB165-0298. Oxford University, St Antony's College, Middle East Centre Archive. NRA catalogue reference: NRA 20811 St Antony's College. Schuyler, Eugene. Turkistan, Notes of a Journey in Russian Turkistan, Kokand, Bukhara and Kuldja.Ed. <mask>. Abridged by K.E. West. London: Routledge and Kegan Paul, 1966. Spuler, Bertold. The

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Wheeler
Wheeler
Wheeler
Wheeler
Wheeler
Wheeler
Geoffrey Wheeler
Geoffrey Wheeler