texts:
 however, some sources suspect the painting was commissioned earlier, as the identity of the child is unclear. Late in life he suffered from depression. According to Campanella, writing in Lyon in 1635, <mask> had himself beaten daily by his servants, keeping a special servant whose duty it was to beat him "at stool", and he engaged in a relentless, and fruitless, correspondence with Cardinal Federico Borromeo to obtain relics, i.e., skeletal remains, of recently canonized uncle <mask>o, with which he hoped to obtain healing for his mental disorder and possibly absolution for his crimes. Gesualdo's late setting of Psalm 51, the Miserere, is distinguished by its insistent and imploring musical repetitions, alternating lines of monophonic chant with pungently chromatic polyphony in a low vocal tessitura. <mask> died in isolation, at his castle Gesualdo in Avellino, three weeks after the death of his son Emanuele, his first son by his marriage to Maria.One 20th-century biographer has raised the possibility that he was murdered by his wife. He was buried in the chapel , in the Church of the Gesù Nuovo, in Naples. The sepulchre was destroyed in the earthquake of 1688. When the church was rebuilt, the tomb was covered over, and now lies beneath it. The burial plaque, however, remains visible. Compositions and style

The evidence that <mask> was tortured by guilt for the remainder of his life is considerable, and he may have given expression to it in his

masks:
Gesualdo
Carlo Borrome
Gesualdo
Gesualdo


type: original

texts: music. One of the most obvious characteristics of his music is the extravagant text setting of words representing extremes of emotion: "love", "pain", "death", "ecstasy", "agony" and other similar words occur frequently in his madrigal texts, most of which he probably wrote himself.While this type of word-painting is common among madrigalists of the late 16th century, it reached an extreme development in <mask>'s music. His music is among the most experimental and expressive of the Renaissance, and without question is the most wildly chromatic. Progressions such as those written by <mask> did not appear again in music until the 19th century, and then in a context of tonality. <mask>'s published music falls into three categories: sacred vocal music, secular vocal music, and instrumental music. His most famous compositions are his six books of madrigals, published between 1594 and 1611, as well as his Tenebrae Responsoria, which are very much like madrigals, except that they use texts from the Passion, a form (Tenebrae) used by many other composers. As in the later books of secular madrigals, he uses particularly sharp dissonance and shocking chromatic juxtapositions, especially in the parts highlighting text passages having to do with Christ's suffering, or the guilt of St. Peter in having betrayed him. The first books of madrigals that <mask> published are close in style to the work of other contemporary madrigalists.Experiments with harmonic

masks: Gesualdo Gesualdo Gesualdo Gesualdo


texts: progression, cross-relation and violent rhythmic contrast increase in the later books, with Books Five and Six containing the most famous and extreme examples (for instance, the madrigals "Moro, lasso, al mio duolo" and "Beltà, poi che t'assenti", both of which are in Book Six, published in 1611). There is evidence that <mask> had these works in score form, in order to better display his contrapuntal inventions to other musicians, and also that <mask> intended his works to be sung by equal voices, as opposed to the concerted madrigal style popular in the period, which involved doubling and replacing voices with instruments. In addition to the works which he published, he left a large quantity of music in manuscript. This contains some of his richest experiments in chromaticism, as well as compositions in such contemporary avant-garde forms as monody. Some of these were products of the years he spent in Ferrara, and some were specifically written for the virtuoso singers there, the three women of the concerto di donne. Characteristic of the Gesualdo style is a sectional format in which relatively slow-tempo passages of wild, occasionally shocking chromaticism alternate with quick-tempo diatonic passages. The text is closely wedded to the music, with individual words being given maximum attention.Some of the chromatic passages include all twelve notes of the chromatic scale within a single phrase, although scattered throughout different voices. <mask>

masks: Gesualdo Gesualdo Gesualdo


texts:
 was particularly fond of chromatic third relations, for instance juxtaposing the chords of A major and F major, or even C-sharp major and A minor, as he does at the beginning of "Moro, lasso, al mio duolo". Reception

The fascination for <mask>'s music has been fuelled by the sensational aspects of his biography. In 2011 Alex Ross wrote in The New Yorker:

In his own lifetime, the salacious details of <mask>'s killing of his first wife and her lover were widely publicized, including in verse by poets such as Tasso and an entire flock of Neapolitan poets, eager to capitalize on the sensation. The accounts of his cruelty were expanded with apocryphal stories such as the alleged killing of an illegitimate child of Donna Maria and her lover, which according to one variant of the made-up story was "suspended in a bassinet and swung to the point of death". Until the 1620s his music was imitated by Neapolitan composers of polyphonic madrigals such as Antonio Cifra, Michelangelo Rossi, Giovanni de Macque, Scipione Dentice, Girolamo Frescobaldi and Sigismondo d'India. After the Renaissance <mask>'s life story and his music were largely forgotten until the 20th century: in 1926 Gray and Warlock published their book on <mask>.The life of <mask> provided inspiration for numerous works of fiction and musical drama, including a novel by Anatole France and a short story by Julio Cortázar. Several composers responded to <mask>'s music: In 1960 Igor Stravinsky wrote

masks: Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo


texts:
 Monumentum pro Gesualdo, containing an arrangement of <mask>'s madrigal "Beltà, poi che t'assenti". In 1995 Alfred Schnittke wrote an opera based on <mask>'s life. Another Gesualdo opera was written by Franz Hummel in 1996 as a commission from the city of Kaiserslautern. Salvatore Sciarrino arranged several of <mask>'s madrigals for an instrumental ensemble. Music based on <mask>'s life and music

Operas based on <mask>'s life and music:
Maria di Venosa (1992) by Francesco d'Avalos. Gesualdo (1993) by Alfred Schnittke.Gesualdo (1998) by Franz Hummel. The Prince of Venosa (1998) by Scott Glasgow. Luci mie traditrici (1998) by Salvatore Sciarrino
Gesualdo (2003) by Bo Holten. Gesualdo (2010) by Marc-André Dalbavie, lyrics by Richard Millet. Other music inspired by <mask> and/or his music includes:
Monumentum pro Gesualdo (1960) by Igor Stravinsky
Omaggio a Gesualdo (1971) per violino e sei gruppi strumentali, by Jan van Vlijmen
Tenebrae Super Gesualdo (1972) for Alto Flute, Bass Clarinet, Cello, Glockenspiel, Guitar, Harpsichord, Marimba, Mezzo-Soprano, Viola, Violin and Celeste by Peter Maxwell Davies
Italian singer-songwriter Franco Battiato wrote and recorded a song "Gesualdo da Venosa" about him, for his 1995 album L'ombrello e la macchina da cucire. The song was remastered in 2008. In 1997, Australian composer Brett Dean paid homage to Gesualdo in Carlo, a work for string orchestra, tape and sampler.Tenebre (1997) for String Orchestra by Scott


texts:
 Glasgow
Le voci sottovetro: Elaborazioni da <mask>esualdo da Venosa (1998) for voice and ensemble by Salvatore Sciarrino
In 1998 Italian jazz arranger and composer Corrado Guarino, of Bergamo, in collaboration with Livorno saxophonist Tino Tracanna, released the CD Gesualdo. The work featured arrangements from books I, IV and VI of the Madrigals. La terribile e spaventosa storia del Principe di Venosa e della bella Maria (1999) music for l'Opera dei Pupi for voice and ensemble by Salvatore Sciarrino
Sulla morte e la follia (2004) for Violin, Violoncello and Piano by Sergio Blardony
Tenebrae (2008) by John Pickard
Mexican/British composer Hilda Paredes has arranged three madrigals from Book Six for countertenor and string quartet: "Belta, poi che t'assenti", "Arditta zanzaretta" and "Moro lasso", published by University of York Music Press, were premiered in Tokyo at the Ishibiashi Memorial Hall by countertenor Jake Arditti and the Arditti String Quartet in 2012. The quartet have continued to perform them since. Night of Your Ascension (2015), album by experimental music collective Wrekmeister Harmonies. The Prince of Venosa - for string quartet (2016) by Caio Facó
The Second Violinist (2017), an opera composed by Donnacha Dennehy, written and directed by Enda Walsh, in which the central character is in love with the music of <mask>, and with a plot that echoes his life. The score is influenced by part of Gesualdo’s motet Tristis anima mea.Legacy
The

masks:
Carlo G
Carlo Gesualdo


texts:
 music State Conservatory of Potenza is named after <mask> da Venosa. In The Doors of Perception (1954), Aldous Huxley writes of <mask>'s madrigals:

Mozart's C-Minor Piano Concerto was interrupted after the first movement, and a recording of some madrigals by <mask> took its place. 'These voices' I said appreciatively, 'these voices – they're a kind of bridge back to the human world.' And a bridge they remained even while singing the most startlingly chromatic of the mad prince's compositions. Through the uneven phrases of the madrigals, the music pursued its course, never sticking to the same key for two bars together. In Gesualdo, that fantastic character out of a Webster melodrama, psychological disintegration had exaggerated, had pushed to the extreme limit, a tendency inherent in modal as opposed to fully tonal music. The resulting works sounded as though they might have been written by the later Schoenberg.'And yet,' I felt myself constrained to say, as I listened to these strange products of a Counter-reformation psychosis working upon a late medieval art form, 'and yet it does not matter that he's all in bits. The whole is disorganized. But each individual fragment is in order, is a representative of a Higher Order. The Highest Order prevails even in the disintegration. The totality is present even in the broken pieces. More clearly present, perhaps, than in a completely coherent work. At least you aren't lulled into a sense of false security

masks:
Carlo Gesualdo
Gesualdo
Gesualdo


texts:
 by some merely human, merely fabricated order.You have to rely on your immediate perception of the ultimate order. So in a certain sense disintegration may have its advantages. But of course it's dangerous, horribly dangerous. Suppose you couldn't get back, out of the chaos...'

David Pownall's play Music to Murder By (1976) juxtaposes the life of <mask> with that of twentieth-century composer Peter Warlock. In 1985 the French writer Michel Breitman published the novel  based on the latter part of the life of <mask>. In 1995, Werner Herzog directed the film Gesualdo: Death for Five Voices about the life and music of Gesualdo. In the NME musician Anna Calvi named Gesualdo as one of her ultimate cult heroes:

Score editions
 <mask>: Madrigali a cinque voci (Libro Quinto – Libro Sesto), Edizione critica a cura di Maria Caraci Vela e Antonio Delfino, testi poetici a cura di Nicola Panizza, con uno scritto di Francesco Saggio, prefazione di Giuseppe Mastrominico, La Stamperia del Principe Gesualdo, Gesualdo, 2013.Recordings
<mask>'s madrigals and his Tenebrae Responsoria are often recorded. Madrigals

 <mask>, Madrigaux. Les Arts Florissants: Harmonia Mundi France CD 901268 (selection from madrigal books 4–6)
 Gesualdo, Complete Sacred Music for Five Voices. Oxford Camerata, Jeremy Summerly: Naxos 8.550742
 Gesualdo, Madrigali Libri I-III. Gesualdo Consort Amsterdam: CPO 777 138–2
 <mask> de Verona, "The Complete Madrigals" [Libri I-VI]. 7 discs. Marco

masks:
Gesualdo
Gesualdo
Carlo Gesualdo
Gesualdo
Gesualdo
Carlo Gesualdo


texts:
 Longhini & Delitiæ Musicæ.Naxos 8507013. <mask>, "Madrigali a 5 voci" Books 1-6 [Complete] 6 discs. Quintetto Vocale Italiano Newton Classics 8802136
 <mask>, Madrigali, Libro I. The Kassiopeia Quintet: GLO5221 (only complete edition of <mask>'s madrigals currently available)
 <mask>, Madrigali, Libro II. The Kassiopeia Quintet: GLO5222
 <mask>, Madrigali, Libro III. The Kassiopeia Quintet: GLO5223
 <mask>, Madrigali, Libro IV. The Kassiopeia Quintet: GLO5224
 <mask>, Madrigali, Libro V. The Kassiopeia Quintet: GLO5225
 <mask>, Madrigali, Libro VI.The Kassiopeia Quintet: GLO5226
 <mask>, Quarto Libro di Madrigali. La Venexiana: Glossa GCD920934
 <mask>, Quinto Libro di Madrigali. La Venexiana: Glossa GCD920935
 <mask>, Quinto Libro di Madrigali. The Hilliard Ensemble:  ECM New Series. ECM 2175 476 4755
 <mask>, Quinto Libro di Madrigali. The Consort of Musicke, Anthony Rooley. L'Oiseau-Lyre 475 9110 DM
 Gesualdo, Sesto Libro di Madrigali.IL Complesso Barocco: Symphonia SY94133 (deleted), now Pan Classics PC10229
 <mask>, Sesto Libro di Madrigali. La Compagnia del Madrigale: Glossa GCD922801

Tenebrae

Other
 Il cembalo intorno a <mask>, Paola Erdas (harpsichord)
 Gesualdo, Sacrae Cantiones Liber Secundus. Vocalconsort Berlin, James Wood: HMC 902123

 References

 Sources

 Further reading
 Alfred Einstein. The Italian Madrigal. Princeton University Press, 1949. Gustave Reese. Music in the Renaissance.New York: W.W. Norton

masks: Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo Gesualdo


texts:
 & Co., 1954. Nicolas Slonimsky. The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th ed. New York, Schirmer Books, 1993. Annibale Cogliano. <mask>: il principe, l'amante, la strega. Napoli: Edizioni Scientifiche Italiane, 2004. .
 Annibale Cogliano.Inventario – Centro Studi e Documentazione Carlo Gesualdo. Avellino: Elio Sellino Editore, 2004. Annibale Cogliano. <mask>esualdo omicida fra storia e mito. Napoli: ESI, 2006. .
 Salvatore La Vecchia, with a Preface by Ruggero Cappuccio. La Giostra del principe: Il dramma di <mask>do Atripalda (AV): Mephite Editore, 2010. Sandro Naglia.Il processo compositivo in Gesualdo da Venosa: un'interpretazione tonale. Rome, IkonaLiber, 2012. Annibale Cogliano. <mask> da Venosa: Per una biografia.'' Giuseppe Barile, 2014

External links

 La Stamperia del Principe Gesualdo (Gesualdo, Italy)

 Free scores at the Mutopia Project

1566 births
1613 deaths
People from Venosa
Renaissance composers
Italian classical composers
Italian male classical composers
Madrigal composers
16th-century Italian musicians
17th-century Italian musicians
17th-century male

masks:
Carlo Gesualdo
Carlo G
Carlo Gual
Carlo Gualdo


texts:
Sir <mask> (died July 1617 in London) was an English goldsmith and Master of the Mint who served as Sheriff and twice as Lord Mayor of the City of London during the reign of Elizabeth I. Early career
<mask>n's birth is estimated at c. 1534 on the basis of his age given as 28 in a portrait medallion by Steven van Herwijk dated 1562. He was elected a liveryman of the Worshipful Company of Goldsmiths, one of the Livery Companies or craft guilds of the City of London, in 1558. He was elected alderman for the wards of Farringdon Within 1578–1598 and Bread Street 1598–1602. He was Sheriff of London in 1581–1582. <mask> was knighted in 1588–1589 and served a partial year as Lord Mayor in 1589, succeeding Sir <mask> who had died in office. He was Prime Warden or head of the Goldsmiths' Company 1592–1593, chairing the Court of Wardens or governing body of the company, and served a second term as Lord Mayor in 1593–1594, succeeding Sir Cuthbert Buckell.His other municipal offices included President of Christ's Hospital and Comptroller-General of Hospitals 1594–1602. <mask> was Warden of the Royal Mint by 1572, and was responsible for overseeing the workings of the mint and the quality of the coinage. John Stow's Survey of London records <mask>'s charges against John Lonyson or Lonison, Master of the Mint, in the 1570s, a matter that was finally weighed by a commission of Privy Council members including Nicholas Bacon, the Lord Keeper, William Cecil, Lord Burghley, the Lord Treasurer, and others, which recommended that

<mask> himself succeeded Lonyson as Master of the Mint in 1582, serving in that capacity until

masks:
Richard Martin
Richard Marty
Martin
Martin Calthrop
Martin
Martin
Martin


texts:
 his death in 1617. <mask> was an investor in Sir Francis Drake's 1577–1580 voyage of circumnavigation and also in Drake's 1585–1586 expedition to harass the Spanish ports in the New World. Making and selling silver plate
<mask> supplied silver plate to the queen's privy kitchen in 1583, including a great standing cup gilt, with a cover, the body garnished with "sundry vermin as snakes ewetes (newts) frogs and others", and laid with colours, the cover garnished with sundry men and beasts hunting with a stag at the top. This cup, probably made in Germany, was admired in the Tower of London by Lupold von Wedel in November 1584. It was a gift at the baptism of Prince Henry in August 1594.He provided silver plate for the use of Mary, Queen of Scots, including a silver gilt bowl and cover in 1585, decorated with an engraved pattern of fish. In 1589 <mask> supplied silver plate, silks, and other goods to the value of £2,000 which Elizabeth gave to James VI of Scotland for the reception of Anne of Denmark. James VI took some of this silver plate to Oslo and presented it to the Danish councillors Steen Brahe and Axel Gyldenstierne. In 1591 <mask> and Hugh Kayle supplied Queen Elizabeth with silver plate worth £2,213, some plate was for New Year's Day gifts and some for christening gifts. John Williams, a successful Welsh-born goldsmith, was his apprentice in 1584. Marriage and family
<mask> married Dorcas Ecclestone (1537-1599) sometime before 1562. <mask> had a silver medal with their portraits made to commemorate their marriage.The medal was designed by Steven Corneliszoon van Herwijck who was working in

masks:
Martin
Martin
Martin
Martin
Richard Martin
Martin


texts:
 London in 1562. They had five sons and one daughter. Both Martins were active in radical religious causes including the Admonition Controversy, part of an effort to encourage the queen to further reform Protestantism in England. The country house at Highgate later known as Lauderdale House was built for him in 1582. The <mask>' son Captain <mask> commanded the Benjamin under Drake in the 1585–1586 expedition. On his return, <mask> married Mary Brandon (born 1566), daughter of Robert Brandon, Chamberlain of London, on 23 May 1586 at St Vedast, Foster Lane. <mask> became a Councilman of the Jamestown Colony of Virginia in 1607 and was the proprietor of Martin's Brandon Plantation on the south bank of the James River, apparently named after his wife's family.Another son, <mask> (died 1616), served with his father as a master-worker at the mint from 1599 to 1607. Their daughter Dorcas married Sir Julius Caesar, later Chancellor of the Exchequer and Master of the Rolls under James I. The house in Cripplegate
In March 1595 <mask> raided the house of Edmund Williamson in Philip Lane, Cripplegate, after his brother Nicholas Williamson was arrested for treason. <mask> discovered that Edmund Williamson ran a kind of pawnbroking business from his house, obtaining luxury goods from young men for small sums, less than their worth. Nicholas Skeres, an associate of Christopher Marlowe involved in the credit racket, was taken by <mask> and held for a few days. Late life
<mask> had remained both Warden and Master of the Mint for almost two decades, but following charges in 1597 that he was profiteering by delaying

masks:
Martins
John Martin
John Martin
John Martin
Richard
Martin
Martin
Martin
Martin


texts:
 repayments he sold his office of Warden to Sir Thomas Knyvet. The two soon fell out, with Knyvet accusing <mask> of owing the crown substantial funds and <mask> insisting he was owed.<mask> was briefly imprisoned for debt, which led to his removal from his Aldermanry on 31 August 1602 on account of his "unfitting demeanour and carriage". Suits and countersuits continued, with the Exchequer finding against <mask> in 1607 and a further enquiry finding in his favour in 1615. In 1608 <mask> asked to be involved in the assay of silver ore sent to the Tower Mint from Hilderston in Scotland. He sent a report of the assay and chemical opinions offered by his workmen to the Earl of Salisbury in October. <mask> died in July 1617, and was buried in Tottenham Church, 30 July 1617. At his death he "was held near a hundred years old". His wife Dorcas had been buried in the same church on 2 September 1599, and his son <mask> on 28 May 1616.Notes

References

Further reading

White, Michelline. "Power Couples and Women Writers in Elizabethan England: the Public Voices of Dorcas and <mask> and Anne and Hugh Dowriche." In Framing the Family: Representation and Narrative in the Medieval and Early Modern Periods, eds. Diane Wolfthal and Rosalynn Voaden. Tempe Ariz.: Medieval and Renaissance Texts and Studies, 2005, pp. 119–38. 16th-century births
Year of birth unknown
1617 deaths

People from Saffron Walden
Sheriffs of the City of London
16th-century lord mayors of London
Councilmen and Aldermen of the City of London
Masters of the Mint
English goldsmiths
17th-century English people
Material culture of royal

masks:
Martin
Martin
Martin
Martin
Martin
Richard Martin
Richard
Richard Martin


texts:
<mask> (January 7, 1903January 12, 1960) was an Argentine tango musician, orchestra leader, composer and pianist. Early years
<mask> was born at 511 Buenos Aires street (now Yrigoyen) in the city of Bahía Blanca, located in Southern Argentina. He was the eighth child of the Italian immigrant <mask>, the owner of a gunsmith store, and Serafina Russomano, daughter of the tenor singer Tito Russomano. Baptized as <mask> in accordance with the solid Catholic tradition of his parents, he later changed his name to <mask>. Music played an important role in the family: <mask>' older brother Domingo was a teacher at the Williams music conservatory in Bahía Blanca, Nicolas, another older child, became a famous baritone, and <mask>' younger brother, Roque, turned into a pianist. <mask> received training in classical music in the conservatory where his brother was teaching. In 1916, working in his father's store, he suffered an accident that cost him an eye and which forced him to wear glasses for the rest of his life.Once recovered from the accident, 13-year-old <mask> joined a company of traveling musicians, touring various provinces and playing popular music including tangos. Then he moved to Santa Rosa in the La Pampa province where a friend of his father, another Italian immigrant by the name of Mario Manara, owned a cinema and a club. He played piano there for two years, accompanying silent movies and performing early tango songs at the club. In 1919, he returned to Bahía Blanca and set up his first orchestra, playing at the Cafe Express on the corner of Zelarrayan and Buenos Aires streets, and in Cafe Moka, on O'Higgins street. The orchestra also did tours in the provinces La Pampa, Córdoba, Mendoza, San Juan and Salta. In 1923,

masks:
Carlos Di Sarli
Carlos di Sarli
Miguel Di Sarli
Cayetano di Sarli
Carlos
Carlos
Carlos
Carlos
Carlos


texts:
 <mask> and his younger brother Roque moved to Buenos Aires. Active years as a musician

There, with the help of Alberico Spatola, the composer of the tango El trece and the director of the Buenos Aires police orchestra, he was able to join the band of Anselmo Aieta.In early 1924, <mask> joined an orchestra directed by the violin player Juan Pedro Castillo, and later, the trio of Alejandro Scarpino (the composer of Canaro en Paris). He accompanied the actress and singer Olinda Bozán on her recordings for the Electra label and worked as part of a sextet in the cabaret Chantecler. Thanks to a recommendation from José Pécora, a violin player, he joined Osvaldo Fresedo's orchestra in 1926 and played at the opening night of the Fénix theater in the Buenos Aires neighborhood of Flores. Fresedo became an important influence on <mask>'s music as well as a good friend. The tango Viejo milonguero, which <mask> composed around 1927-28 was dedicated to Fresedo. It was around the same time that Juan "Pacho" Maglio and José María Rizzutti recorded the tango Meditación which <mask> had composed around 1919 but never recorded himself. In late 1927 he started to set up his own sextet or orchestra tipica (José Pécora and David Abramsky on violin, César Ginzo and Tito Landó on bandoneón and Adolfo Kraus on bass), directing it from behind the piano that he himself played.With the orchestra, <mask>i played live in clubs as well as radio shows in Radio Cultura and recorded for the label RCA Victor. In addition to instrumentals, he recorded with the vocalists Santiago Devincenzi (who later changed his last name to Devin), Ernesto Famá and Fernando Díaz. These singers were hired only to sing the short verses ("estribillos") during the performances

masks:
Carlos
Carlos
di Sarli
di Sarli
di Sarli
di Sarl


texts: and were not constant members of his orchestra, unlike the musicians. Between November 26, 1928 and August 14, 1931, he recorded 48 tracks  including the tangos T.B.C. by Edgardo Donato, Maldita by <mask> and Celedonio Flores, and the Eduardo Arolas compositions La guitarrita and Una noche de garufa. In 1930, during a performance in the café El Germinal, <mask> had an argument with one of the café's owners who did not understand that he wore dark glasses on stage for medical reasons because of his accident at age 13. <mask> promptly moved with his orchestra to Bahía Blanca, where he performed at the La Central club.In 1932, Antonio Rodríguez Lesende joined the orchestra as a singer. In 1934, for unclear reasons, <mask> left the orchestra and moved to Rosario in Santa Fe province where he joined a small band with the bandoneón player Juan Cambareri, the violin player Alberto Saikievich and the singer Roberto Pieri. His sextet continued to play without him, later changing its name to Orquesta Novel due to their performances at the club Novelty. At the request of the orchestra's members in 1935, <mask> rejoined the band temporarily to replace the pianist Ricardo Canataro who was ill at the time. In late 1938, <mask> reorganized his orchestra and in January 1939 debuted in Radio El Mundo. His orchestra consisted of Roberto Guisado, Ángel Goicoechea and Adolfo Pérez on violin, Roberto Gianitelli, Domingo Sánchez and Roberto Mititieri on bandoneón and Domingo Capurro on bass. The singer was Ignacio Murillo, soon to be replaced by Roberto Rufino who was 16 years old at the time.On December 11, 1939, they recorded for RCA Victor the tangos Corazón (composed by <mask>i, with Hector Marco's lyrics) and Retirao by <mask>. He stayed

masks:
Antonio Rodio
di Sarli
Di Sarli
di Sarli
di Sarli
di Sarli
di Sarl
Carlos Posadas


texts:
 with this recording label until 1949, when he withdrew from tango for commercial reasons. In November 1951, he returned to the label Music Hall until April 1953 recording 84 tracks with the vocals of Mario Pomar and Oscar Serpa. From June 1954 until 1958 he returned to the RCA Victor label, leaving that year for Philips to record his last 14 tracks with Horacio Casares and Jorge Durán. Last orchestra lineup

Since 1958, in addition to <mask> on the piano, the orchestra included the violinists Roberto Guisado, Elvino Vardaro, A. Rouco, Szymsia Bajour, <mask>, Juan Schiaffino, C. González and A. Rossi; the bandoneón players F<mask>, José Libertella, Julián Plaza, A. Marcucci y D. Sánchez; A. Sciarretta on bass and the singers Horacio Casares and Jorge Durán. <mask>, already seriously ill, gave his last performance on March 8, 1959, in the club Podestá de Lanús, finishing with a performance of Bahía Blanca, his own composition dedicated to his hometown. His vocalists

During the sextet years, his singers (in chronological order) were Santiago Devin (cenzi), Ernesto Famá, Fernando Díaz, Antonio Rodríguez Lesende, Roberto Arrieta and Ignacio Murillo.In his later years, larger orchestra Murillo was followed by Roberto Rufino, then Antonio Rodríguez Lesende, Agustín Volpe, <mask>, Alberto Podestá, again Roberto Rufino, then again Alberto Podestá, Osvaldo Cabrera, Roberto Rufino for a third time, Alberto Podestá for a third time, Jorge Durán, Raúl Rosales, Alberto Podestá for the fourth time, Osvaldo Cordó, Oscar Serpa, Mario Pomar, again Oscar Serpa, Argentino Ledesma, Rodolfo Galé, Roberto Florio, and finally Jorge Durán again and Horacio Casares. <mask>'s musical style

In the beginning, his music had a simple structure, but

masks:
Di Sarli
Carlos Arnaiz
. Verdi
Di Sarli
Carlos Acuña
Di Sarli


texts:
 over time it matured into a more lyrical, richer, playful and more subtle style which remained popular with tango dancers as it continued to have a clear dancing beat. This clean compás made him a favorite of beginning social tango dancers, while more advanced ones could enjoy the complexity and variations of his music. Because of this, <mask>'s orchestra was among the most popular ones during Carnival balls of his age and can still be heard at milongas in Buenos Aires and around the world today. <mask> moved beyond the style of the guardia vieja of tango and Julio de Caro's  avant-garde, preferring to forge his own style without concession to the fashions of the day. While being influenced by Fresedo early on, he soon established his own way. A talented piano player, he directed his orchestra from behind his own instrument.His recordings do not feature significant instrumental solos; the bandoneóns at times carry the melody but essentially play a rhythmical, milonguero role. Only the violins stand out, playing a short solo or a counterpoint melody. He recorded many tracks more than once over the years, often with different singers. <mask>'s creativity was mostly limited to the left hand piano part, filling in, modulating and accenting his delicate and elegant dancing beat. His reputation for musical elegance got him his nickname El Señor del Tango (The Gentleman of Tango). External links
<mask> Sarli Biography(El Recodo Tango)
<mask> Sarli Discography (El Recodo Tango)
Todo Tango biography
Tango.info profile
Milonga.co.uk biography

References

1903 births
1960 deaths
People from Bahía Blanca
Argentine people of Italian descent
Argentine tango musicians
Argentine pianists
Burials at La Chacarita Cemetery
20th-century

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<mask> (9 July 1904 – 12 November 1964) was a German SS functionary during the Nazi era. He was involved in espionage matters as the Sicherheitsdienst (Security Service) or (SD) section chief of office VI (foreign intelligence) of the Reich Security Main Office. Jost was responsible for genocide in eastern Europe as commander of Einsatzgruppe A from March–September 1942. After Germany's defeat, <mask> was tried and convicted in West Germany, and died in 1964. Early life
<mask> was born in the northern Hessian Homberg (Efze) - Ortsteil Holzhausen - in Hersfeld in 1904, to a middle-class Catholic and nationalistic family. <mask>, <mask>'s father, was a pharmacist and later became a fellow NSDAP member. Jost attended grammar school in Bensheim, graduating in 1923.As a student he became a member, and eventually a leader, of the Jungdeutsche Orden (Young German Order), a nationalistic paramilitary movement. <mask> studied law and economics at the Universities of Giessen and Munich. He completed his civil service examination in May 1927. <mask>'s legal career began as a legally trained civil servant employed in Hesse. He later worked in the district court at Darmstadt. Nazi career
<mask> joined the Nazi Party on 2 February 1928  with an NSDAP membership number of 75,946. He performed various functions for the party's operations in southern Hesse.From 1930 he settled as an independent lawyer in Lorsch, Hesse. After the Nazi seizure of power in March 1933, <mask> was appointed Director of Police in the city of Worms and then to police director of Giessen. From this period came his association with Werner Best, who brought Jost into the main Nazi intelligence and security agency, the Sicherheitsdienst (SD). On 25 July 1934, <mask> began his

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 full-time career with the SD. His SS membership number was 36,243. In May 1936, <mask> was promoted in the SD Main Office to head Department III 2 (Foreign Intelligence Services). In 1938, <mask> was head of the Einsatzgruppe Dresden which occupied Czechoslovakia.In August 1939 <mask> was tasked by Reinhard Heydrich with obtaining the Polish uniforms needed for the false flag attack on the station in Gleiwitz. When the Reich Security Main Office (RSHA) was established in September 1939, <mask> was appointed as chief of Amt VI (Office VI) Ausland-SD (foreign intelligence). One of the chief purposes of Amt VI was to counteract foreign intelligence services that might try to operate in Germany. He also served as an SS officer in the German invasion of Poland in 1939. Einsatzgruppe command
Jost's career suffered by being linked with Werner Best, who was a rival of Reinhard Heydrich. Best lost a power struggle with Heydrich who went on to become one of the most powerful men in the Nazi state. In March 1942, <mask> was fired from his position as Chief of Ausland-SD.<mask>'s place was taken by Brigadeführer Walter Schellenberg, a deputy of Heydrich. Heydrich had given Schellenberg the task of building up a case for <mask>'s removal. According to Schellenberg, <mask> was lacking in bureaucratic skill and drive. <mask> was sent to command Einsatzgruppe A, whose previous commander Franz Walter Stahlecker, had recently been killed in a battle with partisans. Einsatzgruppe A was then operating in the Baltic States and in Belarus. <mask> became Befehlshaber der Sicherheitspolizei und des SD (Commander of the Security Police and the SD) or BdS in Reichskommissariat Ostland, with his headquarters at Riga. <mask> retained this position until

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 September 1942.According to <mask>, this position carried substantial responsibility:

During the time the territory under his jurisdiction was subject to army control, <mask> as Chief of Einsatzgruppe A cooperated with the army command. When the territory came under civilian administration, he, as Commander in Chief of Security Police and SD received his orders from the Higher SS and Police Leader Friedrich Jeckeln. In both cases <mask> was responsible for all operations conducted in his territory. After his Einsatzgruppen command, <mask> was able to secure a position with the occupation administration for the eastern territories that was run by Alfred Rosenberg, where he acted as a liaison officer between Rosenberg and the Wehrmacht commander in southern Russia, Ewald von Kleist. At his later trial, <mask> claimed that he held this position until May 1944, when as a result of enmity from Heinrich Himmler, he was forced to enlist with the Waffen-SS as a second lieutenant. Himmler decided in January 1945, that <mask> should be retired from the SS with a pension. Trial and conviction

In April 1945, <mask> was arrested in Gardelegen, in Saxony-Anhalt, and was charged with murders committed by Einsatzgruppe A.At trial (the 9th of the twelve, in toto, trials convened, known as the Subsequent Nuremberg Trials), <mask> tried to avoid responsibility for these crimes, by claiming the murders (or at least some of them) occurred before he came into command of the unit:

This defense was rejected by the tribunal:

<mask> also claimed, through his attorney, that whatever he had done was justified by "self-defense, necessity, and national emergency". He further claimed he had nothing to do with carrying out the Führer's order (Führerbefehl) for

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 the extermination of entire populations. These claims were rejected by the tribunal as being inconsistent with each other: "If, as a matter of fact, the defendant committed or approved of no act which could be interpreted either as a war crime or crime against humanity, the argument of self-defense and necessity is entirely superfluous." <mask> did testify that when in May 1942 he received an order from Heydrich to surrender Jews under 16 and over 32 for liquidation, he placed the order in his safe and declined to transmit it. The tribunal found the evidence contradicted him. According to Einsatzgruppen status report number 193, dated 17 April 1942, there was an execution in Kovno [Kaunas], on 7 April 1942, of 22 persons "among them 14 Jews who had spread Communist propaganda". In addition, the tribunal found, that on 15 June 1942, one of <mask>'s subordinates wrote to the RSHA, requesting shipment of a gas van (used by the Einsatzgruppen for executions by means of carbon monoxide asphixiation) and gas hoses for three gas vans on hand.<mask> denied any knowledge of this letter but admitted that the subordinate in question had the authority to order equipment. His sentence was reviewed by the "Peck Panel". In 1951, <mask> was released from Landsberg prison. He then worked in Düsseldorf as a real estate agent. He died in 1964 at Bensheim. Notes

References
 Altenhöner, Florian, The Case of <mask> Karl Jost: Ein MI5-Vernehmungsbericht aus dem Jahr 1945, in: Journal for Intelligence, Propaganda and Security Studies 2 (2008) H. 2, S. 55–76. Diefenforf, Jeffry M., Frohn, Axel, and Rupieper, Hermann-Josef, American Policy and the Reconstruction of West Germany, 1945–1955, Cambridge University Press, 1994.Doerries, Rienhard R., Hitler's Last

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 Chief of Foreign Intelligence: Allied Interrogations of Walter Schellenberg, Frank Cass, 2007 [2003]. Höhne, <mask>, Der Orden unter dem Totenkopf. München, Goldmann, 1967. Kahn, David, Hitler's Spies—German Military Intelligence in World War II, Da Capo Press, 2000. Krausnick, Helmut, and Wilhelm, Hans-Heinrich, Die Truppe des Weltanschauungskrieges. Stuttgart, DVA, 1981. Trials of War Criminals before the Nuernberg Military Tribunals under Control Council Law No.10, Nürnberg, October 1946 - April 1949, Volume IV, ("Green Series") (the "Einsatzgruppen case") also available at Mazel library (well indexed HTML version)
 Reitlinger, Gerald, The SS—Alibi of a Nation, Viking (Da Capo reprint), New York, 1957. Wildt, Michael, Generation der Unbedingten – Das Führungskorps des Reichssicherheitshauptamtes. Hamburg, Hamburger Edition, 2003. Further reading
 Earl, Hilary, The Nuremberg SS-Einsatzgruppen Trial, 1945–1958: Atrocity, Law, and History, Nipissing University, Ontario
 Headland, Ronald, ''Messages of Murder: A Study of the Reports of the Einsatzgruppen of the Security Police and the Security Service, 1941–1943, Rutherford 1992

External links
  Biography and photograph of Jost

1904 births
1964 deaths
People from Homberg (Efze)
People from Hesse-Nassau
Nazi Party politicians
Young German Order members
SS-Brigadeführer
Einsatzgruppen personnel
Holocaust perpetrators in Russia
Holocaust perpetrators in Lithuania
People convicted by the United States Nuremberg Military Tribunals
Prisoners sentenced to life imprisonment by the United States military
Holocaust perpetrators in Belarus
Holocaust perpetrators in Latvia
German prisoners sentenced to life imprisonment
German people convicted of crimes against humanity
Reich Security Main


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<mask> (born October 2, 1933 in Anderson, Indiana) is an American composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium. Early life and education
After an early period studying economics (BA, Indiana University, 1956) <mask> came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians and modern dancers. An epiphany occurred while riding a motorcycle in the Carolina mountains. <mask> was climbing a grade behind a slow-moving diesel truck when the revolutions of both vehicles' engines nearly synchronized. "The strong physical presence of the beats resulting from the two engines running at slightly different frequencies put me in such a trance that I nearly rode off the side of the mountain."Career

<mask>'s first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces) as a stimulus. All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.<mask> has also made a number of films and videos, including several in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the

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 Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what <mask> himself considers the ultimate subject matter of his films. Music style
<mask>'s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects.The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. <mask>'s work continues to influence a generation of musicians, especially younger players from a variety of musical genres. <mask>'s compositional process usually begins with recordings of single, absolute tones played by a specific musician, with the breathing and attack and decay edited out; these single tones are then layered, creating a monumental, continuous sound. Collaborations with such musicians have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s; Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan

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 Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; Dave Soldier and the Soldier String Quartet on Five More String Quartets, Early Winter; and many others. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch + 1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik. In performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings.Simultaneously, <mask> generally accompanies performances by presenting his films and videos (often those from The Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances <mask> generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors. Experimental Intermedia Foundation
Since 1985, <mask> has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968.<mask> received a 1994 Foundation for


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 Contemporary Arts Grants to Artists Award and a 2014 Foundation for Contemporary Arts John Cage award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee—<mask> <mask>, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels—founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998. <mask> <mask> Gurdy and Voice, 2000. A Young Person’s Guide to Phill <mask> (or short: YPGPN), 1994.Music by <mask> <mask>, 1993
Four Full Flutes, 1990. Filmography
The Magic Sun (1966) Sun Ra
MORNING (1966-69) 17 min
DOGTRACK (1969) 8:30 min
ANNIE (1968) 8min
MAX (1966-68) 7:30 min Max Neuhaus
RAOUL (1968-69) 20 min

References

External links
 Phill Niblock.com—Official Web site
 Experimental Intermedia Web site
 Phill <mask> at 85: Austere, Unpopular, Astounding Minimalism (at Second Inversion)
 Article at HyperReal
 Interview with <mask> (2006) in FO A RM Magazine, Issue 4
 Interview with Phill <mask> by Bob Gilmore (2007) in Paris Transatlantic Magazine
 Sample MP3
 Phill Niblock interview from American Mavericks site
 Sample from The Movement of People Working (QuickTime file, 11.3 MB)
 "Ghosts and Others," a rare phonographic collage by <mask> (CD supplement, FO A RM Magazine, Issue #4, 2006)
 Phill <mask> at Arcane Candy

1933 births
Living people
20th-century classical composers
21st-century classical composers
American male classical composers
American classical composers
Blast First artists
American experimental musicians
Musicians from Anderson, Indiana
India Navigation artists
21st-century American composers
20th-century American composers
20th-century American male musicians
21st-century American male musicians
College of Staten

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<mask><mask>, M.D. (born 1963) is an internal medicine and public health physician, and the Bloomberg Distinguished Professor of Equity in Health and Healthcare at Johns Hopkins University, jointly appointed in the Johns Hopkins School of Medicine, Johns Hopkins School of Nursing and in the departments of Health, Behavior and Society, Health Policy and Management; Epidemiology; and International Health in the Johns Hopkins Bloomberg School of Public Health. She is the James F. Fries Professor of Medicine in the Division of General Internal Medicine, Director of the Johns Hopkins Center for Health Equity, and Director of the Johns Hopkins Urban Health Institute. Dr. <mask> is also a Gilman Scholar and a core faculty member in the Welch Center for Prevention, Epidemiology, and Clinical Research. She is internationally recognized for her research on the impact of race, ethnicity and gender on the patient-physician relationship and subsequent health disparities. She is a member of the President’s Council of Advisors on Science and Technology (PCAST). In 2007, she received a MacArthur Fellowship ”genius” grant from the MacArthur Foundation.Biography
Dr<mask> was born in Liberia, West Africa, to a mother who is a librarian, and a physician father. She attended the American Cooperative School in Liberia until tenth grade, and the International School of Geneva, in Switzerland, for her last two years of high school before moving to the United States to attend college. She graduated from Emory University with a B.A. in chemistry in 1984 and from the University of North Carolina at Chapel Hill School of Medicine with an M.D., in 1988. After completing her internship and residency in internal medicine at the University of Maryland Medical System, she became board certified by the American Board of Internal Medicine in 1991. She then went to

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 Johns Hopkins University, where she obtained an M.P.H. in 1993.There, she completed a general internal medicine fellowship the following year before joining the university faculty. In 2011, Governor Martin O'Malley created the Maryland Health Care Quality and Costs Council through an executive order, and Dr. <mask> was appointed as co-chair of its Cultural Competency Workgroup. Dr. <mask> has testified in congressional hearings in support of funding for health disparities research, equity in healthcare delivery, and diversity and inclusion in the healthcare workforce. In 2019, Dr. <mask> testified at the Energy and Commerce Committee hearing on "Investing in America's Health Care" in support of reauthorizing the Patient-Centered Outcomes Research Institute (PCORI). In 2021, President Joe Biden appointed <mask> to the President's Council of Advisors on Science and Technology (PCAST). The Council advises the president on developments related to science, innovation, and technology, including health and medicine, helping inform evidence-based decisions. Johns Hopkins Center for Health Equity

Dr<mask> is the founder and director of the Johns Hopkins Center for Health Equity (originally called the Johns Hopkins Center to Eliminate Cardiovascular Health Disparities).The Center, established in 2010, uses a comprehensive strategy to promote equity in health and health care for vulnerable populations: it advances scientific knowledge, educates and trains scholars, engages and partners with communities, raises public awareness of health inequities, and advocates for changes in clinical practice and policy. The Center has made strides towards realizing the goal of health equity in Baltimore and serves as a model for community-academic partnerships in other urban areas, across the country and globally, plagued by similar health disparities.

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 Johns Hopkins Urban Health Institute (UHI)

Dr. <mask> was appointed as the director of the UHI in April 2020, just as racial disparities in infections, hospitalizations, and deaths from the novel coronavirus were becoming more evident in the US. Dr. <mask> is executing a new vision for the institute's future as a vital partner in the health of Baltimore City. The mission of the UHI is to advance health and health equity in Baltimore by: facilitating collaborations between communities, universities, and healthcare delivery systems to build collective capacity for achieving health equity in Baltimore; mobilizing resources in support of promising strategies to achieve substantial gains in the health and well-being of Baltimore residents; and advancing understanding and dialogue by including community voices to build trust and enhance pathways to health, well-being, and social justice in Baltimore. Research
Dr. <mask>’s research has focused on the physician-patient relationship and how race and ethnicity factor into the quality of patient care. The interventions she has tested include patient-centered strategies to overcome racial and ethnic disparities in healthcare.She has pioneered approaches for reducing healthcare disparities among minority populations through culturally tailored education programs and patient-centered communication training. Her most highly cited paper is a 1999 article in the Journal of the American Medical Association (JAMA) that analyzed the role race plays in the patient-physician relationship. The study demonstrated that minority patients found that their physicians involved them in the decision-making process at lower levels than non-minorities did, and that patients seeing physicians of their own race also rated the decision-making process as more participatory than patients seeing physicians of another

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 race. The first of its kind, this study revealed that differences in the relationship between the patient and physician may be a key factor underlying the already established inequitable quality of health care based on a person's race and ethnicity. Dr. <mask>’s research contributed greatly to two paradigm shifts in healthcare research: patient-centeredness and health disparities. Her research documented the existence of disparities in the quality of medical communication experienced by African Americans and other ethnic minorities compared to whites, and the contribution of implicit racial bias and stereotyping behaviors among physicians to poorer communication in the visits of African American patients. Her interventions have identified the important role of patient activation and engagement in treatment decisions in reducing disparities in health care quality for chronic conditions.Awards
 2005 Election to the American Society of Clinical Investigation
 2007 MacArthur Fellows Program
 2008 Election to the National Academy of Medicine
2009 Named Fellow of the American College of Physicians
 2014 Election to the Association of American Physicians
 2014 Herbert W. Nickens Award by the Association of American Medical Colleges (AAMC)
 2015 Senior Fellow, W. Montague Cobb Health Institute, National Medical Association
 2017 Helen Rodriguez-Trìas Social Justice Award by the American Public Health Association

Publications
<mask> has published more than 200 peer-reviewed articles in top journals, including JAMA, Annals of Internal Medicine the American Journal of Epidemiology, the American Journal of Public Health, Medical Care, and the Journal of General Internal Medicine. She has an h-index of 82. She was named "Highly Cited" by Thomson Reuters in 2014 and 2015. Pubmed citations
 Google Scholar citations

Books

 Why Are Health

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 Disparities Everyone's Problem?, Johns Hopkins University Press 2021

Highly Cited Articles

 2012, <mask>, DL Roter, KA Carson, MC Beach, JA Sabin, AG Greenwald, TS Inui. The associations of clinicians' implicit attitudes about race with medical visit communication and patient ratings of interpersonal care in American Journal of Public Health. Vol 102 nº5, 979-987. doi:10.2105/AJPH.2011.300558
 2004, RL Johnson, D Roter, NR Powe, and <mask>, Patient race/ethnicity and quality of patient-physician communication during medical visits, in American Journal of Public Health. Vol.94 nº12, 2084-2090. 2003, LE Boulware, <mask>, LE Ratner, TA LaVeist, and NR Powe, Race and trust in the leath care system, in Public Health Reports. Vol. 118 nº4, 358-365. 2005, MC Beach, EG Price, TL Gary, KA Robinson, A Gozu, A Palacio, C Smarth, MW Jenckes, C Feuerstein, EB Bass, NR Powe, <mask>, Cultural competence: a systematic review of health care provider educational interventions, in Medical Care. Vol. 43 nº4, 356-373.2003, <mask>, DL Roter, RL Johnson, DE Ford, DM Steinwachs, NR Powe, Patient-centered communication, ratings of care, and concordance of patient and physician race. Vol. 139 nº11, 907-915. 1999, <mask>-Patrick, JJ Gallo, JJ Gonzales, HT Vu, NR Powe, C Nelson, DE Ford, Race, gender, and partnership in the patient-physician relationship, in JAMA, Vol. 282 nº6, 583-589. References

External links
 Johns Hopkins Center for Health Equity
 Johns Hopkins Urban Health Institute

1963 births
Americo-Liberian people
<mask> family (Liberia)
People of Americo-Liberian descent
MacArthur Fellows
Emory University alumni
University of North Carolina School of Medicine alumni
Johns Hopkins University faculty
Johns Hopkins Bloomberg School of Public Health alumni
Living people
American public health doctors
20th-century Liberian women
21st-century

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<mask> (May 6, 1890 – June 7, 1967) was a vice-admiral and flag officer of the United States Navy. He is known in submarine history as the commander of Submarine Force Pacific Fleet during World War II. He devised tactics for the effective use of submarines, making the members and elements of "silent service" key players in the Pacific victory. Early life and career
<mask> was born in Midland, Virginia, on May 6, 1890, graduated from Lamar High School (Missouri) in 1905, then graduated from the United States Naval Academy in the class of 1912. Following brief cruises aboard the battleships  and , and a short tour as instructor in the Naval Training Station, Great Lakes, in September 1914 he reported to the tender  for indoctrination in submarines. Submarine commander, World War I and postwar era
By December 1, 1914 he had his first submarine command, USS A-2, followed by . American entry into World War I found him in command of Submarine Division 1, Asiatic Fleet.From that time, with the exception of a tour on the Asiatic station where he commanded gunboats  and  on the Yangtze Patrol and the destroyer , practically all his sea service was in and connected with submarines. In addition to those listed above, <mask> also served on the submarines , ,  (ex-imperial German navy), , , and . World War II service
In June 1939, he became Chief of Staff to the Commander Submarine Force, U.S. Fleet, on the light cruiser . This important service was interrupted in February 1941 when he was sent to London as naval attaché and principal observer for submarines. Following promotion to rear admiral in May 1942, he arrived in Perth, Western Australia as Commander, Submarines, Southwest Pacific (COMSUBSOWESPAC). <mask> also acted as Commander Allied Naval Forces, Western Australia, until July 1942,

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texts: overseeing the major bases at Fremantle and Exmouth (Codename "Potshot"), amongst others. In February 1943, following the death of the COMSUBPAC, Rear Admiral Robert Henry English, in a plane crash in California,  <mask> was transferred to Pearl Harbor to become Commander, Submarines, Pacific Fleet (COMSUBPAC), in which capacity he served the rest of the war, being promoted to vice admiral in October 1943.<mask>'s strong leadership and devotion to his sailors won him the nickname "Uncle Charlie". Submarine patrols were long voyages and many times the crew finished up on "iron rations" of poor food as their food supplies ran out, so <mask> made great strides in providing for rest and recuperation (R & R) for his sailors when they returned to port, such as two-week stays at the Royal Hawaiian Hotel, and crates of ice cream and leafy vegetables to greet returning submarine crews. <mask> oversaw the introduction into the Pacific Fleet of several hundred newly constructed fleet submarines from American shipyards, and the manning of them with newly trained officers and men. Older boats, like the S-class, were removed from combat and sent back to the U.S. for use in training or to be scrapped. He oversaw the moving forward of the Pacific Fleet submarine bases from Pearl Harbor, Hawaii, and Australia to places like Saipan – where a submarine tender was stationed for a period of time – Guam, the Admiralty Islands, and Subic Bay in the Philippines. This reduced the very long ocean voyages for American submarines, and steadily tightened the noose on Imperial Japanese supply lines, especially in the East China Sea and the South China Sea. He pushed the Navy's Bureau of Ships and Bureau of Ordnance to provide his men with the most effective submarines and torpedoes possible.He oversaw the tests that

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texts: proved the unreliability of U.S. torpedoes, which at the time were often running too deep or failing to detonate, and prompted the improvements that made them the highly effective weapons they became in 1944 and 1945. In fighting for better torpedoes, <mask> had to fight the Mark 14 torpedo and Mark 6 exploder supporter Rear Admiral Ralph Waldo Christie, who had been involved in the development of these weapon systems in the 1920s and 1930s, and who was convinced that their reported problems were caused by poor maintenance and errors on the part of the captain and crew. During a tense Washington conference with fellow admirals in early 1943, he demanded that, "If the Bureau of Ordnance can't provide us with torpedoes that will hit and explode, or with a gun larger than a peashooter, then for God's sake get the Bureau of Ships to design a boathook with which we can rip the plates off the target's sides." Most importantly, <mask> cleaned out the "dead wood", replacing timid and unproductive submarine skippers with (often) younger and more aggressive officers. During the early stages of the Pacific War, U.S. skippers were relatively complacent and docile, compared to their German counterparts who understood the "life and death" urgency in the Atlantic. There was plenty of room for error and cautious judgment since the Japanese did not take the U.S. submarine threat seriously. In 1942 and early 1943, U.S. submarines proved little threat to Japanese warships and merchant ships alike.As a result of <mask>'s initiatives, the "silent service" suddenly began racking up many kills, including key enemy warships. Most importantly, U.S. submarines were responsible for severing Japan's shipping routes to their colonies in Southeast Asia, by sinking close to half of their merchant ships. The Imperial

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 Japanese Navy was caught off guard and never recovered. <mask>'s wartime awards were the Navy Distinguished Service Medal three times, and the Legion of Merit award. Post-war career and retirement

After the war, <mask> served as the Naval Inspector General until his retirement in June 1947. In retirement at Los Gatos, California, he authored and contributed to several best-selling books on naval history and submarine operations, including Tragedy at Honda, Sink-Em All, Through Hell and Deep Water, Hell at 50 Fathoms, Zoomies, Subs and Zeros, Hellcats of the Sea, Battles of the Philippine Sea, and Down to The Sea in Subs: My Life in the U.S. Navy. He served as the technical advisor for the 1951 film Operation Pacific starring John Wayne.This film is considered a classic depicting submarine warfare. He was technical advisor for the 1957 film Hellcats of the Navy (a fictionalized version of his book Hellcats of the Sea), which starred Ronald Reagan and Nancy Davis. He also served as technical advisor to the 1959 films On the Beach and Up Periscope. In one of his book-promotion speeches following the war, <mask> mentioned that he was an avid deer hunter. After the speech, he was approached by Ralph T. Duncan, a pharmacist living in Los Gatos, California. Duncan invited <mask> to be his guest that year at Jake's Opening Hunting Club, near Boonville, California. They became fast friends.After <mask> had been deer and quail hunting at the club for several years as Duncan's guest, <mask> learned of an amazing coincidence: <mask>'s predecessor as submarine fleet commander, Robert Henry English, had died on the same hunting club property in the crash of the Philippine Clipper flying boat. Upon Admiral English's death, <mask> had been given command of the Pacific submarine fleet. <mask> died on

masks: Lockwood Lockwood Lockwood Lockwood Lockwood Lockwood Lockwood Lockwood Lockwood


texts:
 June 6, 1967. He is buried at Golden Gate National Cemetery in San Bruno, California, alongside his wife and Admirals Chester Nimitz, Raymond Spruance, and Richmond Kelly Turner, an arrangement made by all of them while living. His wife, Phyllis Natalie Irwin, was a daughter of Rear Admiral Noble E. Irwin. Namesake
The frigate  was named in his honor. The Naval Submarine League presents an annual Vice Admiral <mask><mask> Award for Submarine Professional Excellence which recognizes individuals (Active or Reserve) for achievement, contribution, specific action or consistent performance, which best exemplifies the traditional spirit embodied in the Submarine Force.Awards
Distinguished Service Medal with two gold stars (3 awards)
Legion of Merit
World War I Victory Medal
Yangtze Service Medal
American Defense Service Medal with "FLEET" clasp
European-African-Middle Eastern Campaign Medal
Asiatic-Pacific Campaign Medal
World War II Victory Medal

References

Further reading

External links

 history.navy.mil: USS Lockwood
 chinfo.navy.mil: Submarine Pioneers
 VADM Charles A. Lockwood Award
Overview of the <mask> A<mask> Papers and selected documents online at the Hoover Institution Archives, Stanford University. 1890 births
1967 deaths
United States Navy personnel of World War I
United States Navy personnel of World War II
American naval historians
American male non-fiction writers
Recipients of the Navy Distinguished Service Medal
Recipients of the Legion of Merit
United States Naval Academy alumni
United States Navy admirals
United States Navy World War II admirals
United States submarine commanders
People from Fauquier County, Virginia
Military personnel from Virginia
United States Navy Inspectors General
Burials at Golden Gate National Cemetery
20th-century American male

masks:
Charles A
. Lockwood
Charles
. Lockwood


texts:
<mask> (; born 22 November 1992) is a Russian professional ice hockey center currently playing for the Detroit Red Wings of the National Hockey League (NHL). He was selected 27th overall by the Tampa Bay Lightning in the 2011 NHL Entry Draft, and has previously played in the NHL with the Lightning, New York Rangers, Ottawa Senators and Colorado Avalanche. Playing career

<mask> was selected 20th overall by the London Knights in the 2010 Ontario Hockey League (OHL) entry draft. He was also selected 11th overall in the Kontinental Hockey League (KHL) draft by Torpedo Nizhny Novgorod, but he ultimately chose London after deciding he did not want to play in Russia. <mask> scored 68 points in 68 games with the Knights in 2010-11 and was rated one of the top players available in the 2011 NHL Entry Draft, eventually being selected in the first round by the Tampa Bay Lightning. On 13 March 2012, the Lightning announced that they had signed <mask> to a three-year, entry-level contract. He played in 60 games with the London Knights that season, scoring 22 goals and 70 points.He also appeared in six OHL playoff games in 2011, recording one goal and five points. Professional

Tampa Bay Lightning
On 14 September 2012, the Lightning assigned <mask> and 17 other players to the Syracuse Crunch, their American Hockey League (AHL) affiliate, during the 2012–13 NHL lockout. He finished the season playing in the Calder Cup Final, where the Crunch fell to the Grand Rapids Griffins in a 4–2 series defeat. On 7 February 2014, Tampa Bay recalled <mask> from the Crunch, where at the time he was leading the team in assists and points. <mask> made his NHL debut on 8

masks:
Vladislav Yevgenievich Namestnikov
Junior Namestnikov
Namestnikov
Namestnikov
Namestnikov
Namestnikov
Namestnikov


texts: February 2014, skating 11:55 for the Lightning in their 4–2 win over the Detroit Red Wings. On 5 March 2014, <mask> was reassigned to the Crunch after failing to register a point in four NHL games. He regained his scoring touch in Syracuse and on 6 January 2015, he represented the Eastern Conference in the AHL All-Star Game.<mask> made Tampa Bay's roster out of training camp to start the 2014–15 season. On 13 October 2014, he picked up his first career NHL point with an assist on a Victor Hedman goal, and soon after scored his first career NHL goal in a 7–1 Tampa victory over the Montreal Canadiens. He scored his first career game-winning goal on 24 October in a game against the Winnipeg Jets. Though he had begun demonstrating that he could contribute offensively at the NHL level, the Lightning reassigned <mask> to Syracuse on 3 December 2014. He was recalled to Tampa on 4 March 2015, and the team selected him to their playoff roster. On 17 July 2015, the Lightning announced the re-signing of <mask> to a one-year, two-way contract. He subsequently played in 43 games with the Lightning during the 2014–15 NHL season and posted nine goals and 16 points (9–7–16), all career highs.<mask> appeared in 12 Stanley Cup playoff games in 2015, recording one assist. In addition, he played in 34 games with the Syracuse Crunch during the 2014–15 season, registering 14 goals and 35 points. On 15 January 2016, <mask> recorded his first career NHL hat-trick in a 5–4 overtime win over the visiting Pittsburgh Penguins. On 3 May 2016, <mask> recorded his first NHL playoff goal, which came in a 5–4 overtime Lightning win over the New York Islanders. <mask> re-signed

masks: Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov


texts:
 with the Lightning during the summer of 2016, agreeing to a two-year, $3.875 million deal. New York Rangers
On 26 February 2018, the day of the 2017–18 NHL trade deadline, the Lightning sent <mask> to the New York Rangers, along with Brett Howden, Libor Hájek and a 2018 and 2019 draft pick, in exchange for Ryan McDonagh and J. T. Miller. The Rangers re-signed <mask> to a two-year extension on 1 July 2018.Ottawa Senators
<mask> began the 2019–20 season with two scoreless games for the Rangers before he was traded to the Ottawa Senators in exchange for Nick Ebert and a fourth-round pick in the 2021 NHL Entry Draft on 7 October 2019. In his debut with the Senators, he registered an assist in a 6–4 loss to the St. Louis Blues on 11 October 2019. In his second game, <mask> collected his first two goals plus an assist against his former club, the Tampa Bay Lightning, helping the Senators claim their first victory of the season in a 4–2 decision on 12 October 2019. In an increased offensive role, <mask> collected 13 goals and 25 points in 54 games for the Senators. Colorado Avalanche
With the rebuilding Senators falling out of playoff contention, <mask> was traded for the second time within the season, dealt to the Colorado Avalanche at the trade deadline in exchange for a 2021 fourth-round draft selection on 24 February 2020. Detroit Red Wings
On 11 October 2020, <mask> signed a two-year, $4 million dollar contract with the Detroit Red Wings. International play

On 2 March 2016, the Russian Ice Hockey Federation named <mask> to its roster for the 2016 World Cup of Hockey.<mask> was joined by Lightning teammates Nikita Kucherov, Nikita Nesterov and

masks: Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov Namestnikov


texts:
 Andrei Vasilevskiy. The tournament took place from 17 September to 1 October 2016 in Toronto. On 21 May 2017, <mask> helped Russia capture a bronze medal when they defeated Finland in the bronze medal game of the 2017 IIHF World Championship. Personal life
Although born in Voskresensk, <mask> moved to the United States when he was eight months old, settling in Michigan, with his family. When he was eight, he returned to Voskresensk in Russia to hone his hockey skills, eventually playing in the Vysshaya Liga with Khimik Voskresensk at age 16. <mask>'s father, Evgeny, was a player for the Vancouver Canucks and also played for Torpedo Nizhny Novgorod. Like <mask>, he also played for the Syracuse Crunch during his playing career.His uncle on his mother's side is Vyacheslav Kozlov, a former NHL star having played in over 1,000 games in the NHL for the Detroit Red Wings, Buffalo Sabres and Atlanta Thrashers. Another uncle, Ivan Novoseltsev, was also a professional hockey player, having played over five seasons in the NHL. <mask>'s brother, Max, currently plays for the Sarnia Sting of the Ontario Hockey League, and is eligible for the 2022 NHL Entry Draft. Career statistics

Regular season and playoffs

International

References

External links

1992 births
Living people
Colorado Avalanche players
Detroit Red Wings players
London Knights players
National Hockey League first round draft picks
New York Rangers players
Ottawa Senators players
People from Voskresensk
Russian expatriate ice hockey people
Russian expatriate sportspeople in the United States
Russian ice hockey centres
Syracuse Crunch players
Tampa Bay Lightning draft picks
Tampa Bay

masks: Namestnikov Namestnikov Namestnikov Vladislav Namestnikov


texts:
William Wright (1829–1898), better known by the pen name <mask> or <mask>, was an American author, journalist, and humorist. He was best known for his written accounts of the people, events, and silver mining operations on the Comstock Lode at Virginia City, Nevada, including his non-fiction book History of the Big Bonanza (American Publishing Company, 1876). <mask> was on the staff of the (Virginia City) Territorial Enterprise for over thirty years, and his writings were also printed in other publications throughout the country and abroad. Highly regarded for his knowledge of silver mining techniques and his ability to explain them in simple terms, he was also appreciated for his humor, similar in style to that of his associate and friend Mark Twain, and of a type very popular in the United States at that time, now referred to as the Sagebrush School literary genre. Early life
William Wright was born in Knox County, Ohio, in 1829, the oldest of nine children. In 1849 he moved west with his family to West Liberty, Iowa, where in 1853 he married Caroline Coleman. Their union produced five children, two of whom died in infancy.In 1857, leaving his family behind, he traveled to California in search of gold. While living as a nomadic prospector in the Sierra foothills and Mono Lake region, he heard of the discovery of silver on the other side of the Sierras and ventured to Virginia City, Nevada in 1859. With no success at prospecting there and in need of funds to send his wife and children in Iowa, Wright applied for regular employment in Virginia City at the (Territorial) Enterprise, a newspaper that had recently relocated there from Carson City, Nevada. He was hired in 1862 and soon adopted the pen name <mask>. Writing career

William Wright was interested as a young adult in a career as a writer. After his

masks:
Dan DeQuille
Dan De Quille
DeQuille
Dan DeQuille


texts:
 move to Iowa he wrote and submitted manuscripts to popular magazines in the East Coast. While prospecting for gold in California he wrote articles on prospector mining that were published in California newspapers.Long letters to his family helped to develop his skills at humorous exaggeration and detailed description. Following his move to Virginia City, he wrote articles that were printed in San Francisco's The Golden Era. Soon after he became known as <mask> at the Enterprise, another unsuccessful miner named Sam Clemens was hired to work under him in August 1863. Clemens adopted the pen name Mark Twain. The two of them reported on local events and wrote columns for the newspaper. Under <mask>'s editorial supervision, Twain established his reputation as a humorous writer. Twain would later describe this period in his book Roughing It.Twain left Virginia City in May 1864 and after brief stays in San Francisco and Hawaii he toured as a lecturer, which brought him back for visits to Virginia City and DeQuille in 1866 and 1868. History of the Big Bonanza
In 1874 mine operators John William Mackay, James Graham Fair, Sen. John P. Jones, and William Ralston decided that a book should be written about the history of the Comstock. They approached DeQuille as the preferred author and he accepted the task. His original intent was to write a small book which could be sold to overland train passengers and to continue expanding it with new information and additional sketches until it eventually became a volume which could be published for a broader audience. DeQuille set to work on the book, collecting data, illustrations, and sketches to be included. In March 1875 he sent a letter to Mark Twain, then residing in Hartford, Connecticut, to seek his advice on having the book published. Concurrently Twain had himself

masks:
Dan DeQuille
DeQuille


texts:
 seen a need for such a book and, seeing DeQuille as the one to write it, wrote him a letter to that effect.In response to <mask>'s letter, Twain responded with a 19-page letter enthusiastically providing advice and an invitation for DeQuille to gather up all the material he might need and join him in Hartford where they could each work on their respective projects in close proximity and mutual support. Under Twain's mentorship during the summer of 1875, DeQuille pieced together a sizable volume which contained a mixture of technical chapters on silver mining interspersed with lighter accounts of Nevada events and individuals, including the Northern Paiute group of Native Americans living in the vicinity. <mask> and Twain believed the book would have wide appeal and sell well. Twain helped DeQuille negotiate a favorable contract with his own publisher and DeQuille returned to Virginia City late that summer. In October a fire destroyed much of the city and his account of this tragedy would become the last chapter of his book. A History of the Big Bonanza was published by the American Publishing Company of Hartford, Connecticut, in 1876. They also published A History of the Comstock Silver Lode Mines, a smaller version as a paper-bound guide-book to be sold on overland trains.The main book was eagerly anticipated in Virginia City and sold well on the Pacific Coast, but sales in the East were disappointing. <mask> did not achieve the financial independence he had anticipated and would continue in his position at the Enterprise for another seventeen years. Later work
At the beginning of the 1880s the major silver mining operations at the Comstock Lode were coming to an end and the population of Virginia City was rapidly declining. <mask> remained a prolific writer, however, providing articles for publication on

masks: DeQuille DeQuille DeQuille DeQuille


texts:
 both coasts, contributing a portion to Myron Angel's History of Nevada (Thompson & West, 1881), and writing the article on Nevada for the 10th edition of the Encyclopædia Britannica in 1884. In 1893 the Enterprise ended publication. <mask> remained in Virginia City for a few more years working as a correspondent for a newspaper in Utah and as a contributor to publications on both coasts. In the late 1890s he returned in poor health to West Liberty, Iowa where he resided with his daughter until his death on March 16, 1898.Legacy

As a journalist and author <mask> contributed significantly to Americans' understanding of the events in Nevada and the procurement of vast fortunes from the Comstock Lode in the late 19th century. As a humorist he also made a significant contribution the lore of the Wild West. During Virginia City's heyday, DeQuille was one of the most widely read journalists on the Pacific Coast because of his wit coupled with his ability to explain in non-technical terms the significance of events on the Comstock Lode. The style of humor that flourished in the United States during the latter half of the 19th century was shared by <mask>, Artemus Ward, Orpheus C. Kerr, Petroleum V. Nasby, Major Jack Downing, and most notably Mark Twain. It has since been theorized that America's hunger for this type of humor sprang from a sort of national psychic need from the aftermath of the American Civil War, the grief over the assassination of President Abraham Lincoln, and the hardships of industrial pioneering in the West. Historical interest in Virginia City's past has continued throughout the 20th century. The town has become a popular tourist attraction with one of its features being the building which housed the Enterprise and on display therein the desk once used by <mask>, Mark Twain, Bret Harte, and

masks:
DeQuille
Dan DeQuille
DeQuille
DeQuille


texts:
 other frontier journalists.In 1946 publishing house Alfred A. Knopf announced that in conjunction with the upcoming California centenary, it would reprint a series of five books that were historically significant in portraying the early days of California statehood, but which were difficult to find. The first book on their list was <mask>'s History of the Big Bonanza. Editor Oscar Lewis wrote a biography of DeQuille as the "Introduction" to The Big Bonanza, published in 1947. In 1950 <mask> was represented in an anthology of Western Americana entitled Comstock Bonanza, collected and edited by Duncan Emrich and published by Vanguard. More recently Richard A. Dwyer and Richard E. Lingenfelter published <mask> Quille, The Washoe Giant. A Biography and Anthology, featuring the fullest collection of his journalism and a checklist of all his writings (University of Nevada Press, 1990). English professor Lawrence I. Berkove collected the best of <mask>'s works and published them in 1990 as The Fighting Horse of the Stanislaus: Stories and Essays (University of Iowa Press).In 1994, <mask> was inducted into the Nevada Writers Hall of Fame. In 2005, <mask>'s The Big Bonanza was used as the basis for a new American opera entitled The Big Bonanza, with music by Monica Houghton and libretto by Jon Christensen. Published works
History of the Big Bonanza with an introduction by Mark Twain (Hartford, American Publishing Company, 1876), available at the Internet Archive
The Big Bonanza with an introduction by Oscar Lewis (New York, Alfred A. Knopf, 1947)
Snowshoe Thompson, preface by Carrol D. Hall (Los Angeles, Glen Dawson, 1954)
Washoe Rambles, edited by Richard E. Lingenfelter (Los Angeles, Westernlore Press, 1963)
<mask> Quille, The Washoe Giant. A Biography and Anthology, prepared by Richard A. Dwyer and Richard E.

masks:
DeQuille
DeQuille
Dan De
DeQuille
DeQuille
DeQuille
Dan De


texts:
 Lingenfelter (Reno & Las Vegas, University of Nevada Press, 1990)
The Fighting Horse of the Stanislaus: Stories and essays, edited by Lawrence I. Berkove (Iowa City, University of Iowa Press, 1990)

References

Bibliography
"Books Published Today", New York Times, New York City, November 9, 1950, p. 30, as retrieved from ProQuest Historical Newspapers, The New York Times (1851–2003), . De Quille, Dan. Manuscript papers (NC55). Special Collections & Archives Dept., University of Nevada, Reno Libraries.Hillerman, Tony, "The Fighting Horse of Sanislaus: Stories and Essays, by <mask> Quille", New York Times Book Review, New York City, September 23, 1990, p. BR33, as retrieved from ProQuest Historical Newspapers, The New York Times (1851–2003), . Lewis, Oscar (1947), "Introduction" in <mask> Quille (Oscar Lewis, ed. ), The Big Bonanza, Alfred A. Knopf, New York. Lillard, Richard G., "Life Along the Comstock Lode", New York Times Book Review, New York City, March 23, 1947, p. BR6, as retrieved from ProQuest Historical Newspapers, The New York Times (1851–2003), . "Topics of the Week: Changing Humor", New York Times, New York City, March 21, 1920, p. X3, as retrieved from ProQuest Historical Newspapers, The New York Times (1851–2003), . Research resources

Guide to the <mask> Papers at The Bancroft Library
A Guide to the <mask> Quille papers, NC55. Special Collections, University Libraries, University of Nevada, Reno.<mask> Quille Papers. Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library. 1829 births
1898 deaths
American humorists
Writers from Ohio
Writers from California
Writers from Nevada
People from Knox County, Ohio
Sagebrush School
19th-century American journalists
American male journalists
19th-century American male writers
Journalists from Ohio
People from Muscatine County,

masks:
Dan De
Dan De
Dan DeQuille
Dan De
Dan De


texts:
<mask> (10 May 1939 – 25 January 2012) was an Italian astrophysicist and professor at the University of Florence. He carried out research, mostly in High Energy Astrophysics, in Italy, France, United States and at the European Southern Observatory. Biography
<mask> was born in Florence on 10 May 1939, however he moved early on to Urbino. His parents were <mask>, a teacher from Urbino and Elsa Roesch, born in Baden, Switzerland. <mask> was married in 1966 to Rosemary Winterer, a teacher, born in St. Louis, Missouri. They had three children: Giulia, Tommaso and Giorgio. <mask> graduated from a local high school, Raffaello, in Urbino.He studied physics at the Scuola Normale Superiore in Pisa and later at the Sapienza in Rome, where he graduated in 1964. <mask>'s thesis (Livio Gratton was his advisor) was about neutron stars, which were hypothetical objects at the time. <mask> continued to work on neutron stars at Institut d'astrophysique de Paris, where he was a post-doctoral fellow. <mask> continued his research on neutron stars at the Institute d'Astrophysique in Paris. From 1967 to 1973, he was research associate and visiting professor at Cornell University. In 1967 he published in Nature the first specific suggestion that strongly magnetized neutron stars could release their rotational energy and produce a large flow of relativistic particles. The discovery of pulsars in Cambridge (UK) proved the correctness of his hypothesis a few months later by Jocelyn Bell Burnell and Antony Hewish of University of Cambridge.In 1968 in another Nature article, <mask> wrote that at the center of the Crab nebula would be found a pulsar,

masks:
Franco Pacini
Pacini
Gualtiero Pacini
Pacini
Pacini
Pacini
Pacini
Pacini
Pacini


texts: which would explain the emission of electromagnetic radiation. The discovery of the strong infrared emission from some starburst galaxies, <mask>, together with Martin Harwit, suggested that these sources are related to an evolutionary stage of a galaxy during which massive stars are being formed, a scenario which is now generally accepted. In 1975 <mask> joined the newly created scientific group of the European Southern Observatory in Geneva; <mask> served as President from 1975 to 1978. He was instrumental also for Italy to enter into the ESO. On returning to Italy in 1978, he became Director of the Arcetri Astrophysical Observatory in Florence and a professor at the University of Florence. He held this post until 2001. During his tenure the Observatory greatly expanded its scientific activity in different areas, in a broad context of international collaborations.In particular, during this period the Arcetri Observatory became partner in the construction of the  Large Binocular Telescope (LBT). In 1982 <mask> was one of the 69 signatories signing a petition circulated by Carl Sagan: Extraterrestrial Intelligence: An International Petition. <mask> had an ability to use humorous images when talking about science, as can be read in article by Virginia Trimble and Markus Aschwanden: What is in the jets? <mask> is supposed to have said that relativistic tomatoes would do. He was member of a large number of international boards and committees. He was President of the International Astronomical Union for a three-year period (2001–03). He was Member of the Accademia Nazionale dei Lincei, Associate Member of the Royal Astronomical

masks:
Pacini
Pacini
Pacini
Pacini
Pacini
Franco Pacini


texts:
 Society and Member of the American Astronomical Society.At the 25th General Assembly of the IAU, held in Sydney in 2003, he proposed to designate 2009 the International Year of Astronomy as a way to celebrate the 400th anniversary of Galileo's first telescopic observations. Asteroid 25601 Francopacini is named after him. In 1997 he received the Prize of the Italian Government for Science. Over the years he carried out a wide range of activities aimed at communicating science to the general public, including children and adults, with frequent public lectures, popular articles in newspapers, books and appearances on television. <mask> was involved in starting Children's Day at Arcetri Observatory. He also wrote five children's books. Children's books
<mask> wrote five children’s books with Lara Albanese:

 Verso le galassie lontane
 Il nostro amico E.T.In giro fra le stelle
 Visitiamo i pianeti
 Viaggio nell'universo: Verso le lontane galassie-In giro fra le stelle-Visitiamo i pianeti-Il nostro amico E.T. 195; 1999-11-22:
 High Observed Brightnesses in Radio Jets; M. Spada, M. Salvati, <mask>;  The Astrophysical Journal; 1998-08-20:
 Rapid Variability of Gamma-Ray Blazars: A Model for MKN 421, 1998;  M. Spada, M. Salvati, <mask>; The Astrophysical Journal Letters; 1998-01-07:
 The Supernova Remnant G11.2-0.3 and its central Pulsar; R. Bandiera, M. Salvati, <mask>; The Astrophysical Journal; 1996-04-16:
 Electromagnetic activity of white dwarfs, 1970; <mask>; Memorie della Società Astronomia Italiana, Vol. 41;  1970-01-01:
 X-rays from supernova 1987A - Beneath the radioactive layers, 1989; Rino Bandiera, <mask>, Marco

masks:
Pacini
Pacini
Franco Pacini
Franco Pacini
Franco Pacini
Franco Pacini
Franco Pacini


texts:
 Salvati;  Astrophysical Journal, Part 1; 1989-09-15:
 Optical and X-ray radiation from fast pulsars - Effects of duty cycle and spectral shape, 1987; <mask>, M. Salvati; Astrophysical Journal, Part 1 vol. 321; 1987-10-01:
 Possible manifestations of a neutron star inside SN 1987A, 1987; <mask>;  ESO Workshop on the SN 1987A ; 1987-07-06:
 The evolution of nonthermal supernova remnants. II - Can radio supernovae become plerions?, 1984; R. Bandiera, Franco Pacini, M. Salvati; Astrophysical Journal, Part 1,  vol. 285; 1984-10-01:
 Infrared galaxies - Evolutionary stages of massive star formation, 1975; M. Harwit, Franco Pacini; Astrophysical Journal, vol. 200; 1975-09-15:
 Possible models for some transient X-ray sources, 1975; Stuart L. Shapiro, Franco Pacini; Nature; 1975-10-01:
 Rotation in High-Energy Astrophysics, 1973; Franco Pacini, Martin J. Rees; Scientific American Vol.228, No. 2 |; 1973-02-01:
 On the Evolution of Supernova Remnants. Evolution of the Magnetic Field, Particles, Content, and Luminosity, 1973; <mask>, M. Salvati;  Astrophysical Journal, Vol. 186, pp. 249–26; 1973-01-01:
 On the Mechanism of the Glitches in the Crab Nebula Pulsar, 1971; Jeffrey D. Scargle,  <mask> ; Nature Physical Science: 1971-07-30 ;
 A model for the radiations from the compact strong sources CSR-TR-70-5,1970; A. Cavaliere, P. Morrison, <mask>; Center for Space Research, M.I.T. ; 1970-01-01:
 Can the Observed Microwave Background be due to a Superposition of Sources? ; Thomas Gold, <mask>; Astrophysical Journal, vol.152, p. L115; 1968-05-01:
 Equilibrium for neutron stars, 1965; <mask>; Memorie della Società Astronomia

masks:
Franco Pacini
Franco Pacini
Franco Pacini
Franco Pacini
Franco Pacini
Franco Pacini
Franco Pacini


texts:
<mask> is the founder and conductor of the world-renowned Paragon Ragtime Orchestra. <mask> has an active career as a pianist and tubist as well as an arranger. Early Interest in Ragtime Music
<mask>'s interest in ragtime music began in the 1970s when he was eight years old and found a 1917 Victorola in his grandparents' garage. He later recalled that the music he played on the Victorola connected with him in a way that the pop music of his era did not. He said, "I knew in my bones that these performers and their composers were expressing their sheer joy in life through their music." <mask>'s interest persisted in ragtime, the first popular music conceived and created by Americans in an era where popular songs were brought over from Germany or England. Formation of the Paragon Ragtime Orchestra

Discovery of the Music of Arthur Pryor
<mask> went to Juilliard with intentions to make his living playing the tuba.When his jaw was wired shut after his teeth were inadvertently shattered during a tooth extraction, he found himself temporarily unable to play that instrument and instead focused on writing a research paper on Arthur Pryor, an 1890s trombonist, conductor and music director. Pryor was an influential figure in the early history of the Victrola, as he had served as first conductor for the company that produced them, Victor Talking Machine Co., and had accordingly been able to decide himself what recordings were released for the machine. <mask> learned that an old theater in Asbury, New Jersey that was scheduled for demolition housed Pryor's personal collection of over 4,000 pieces of music and was given permission to take it. While <mask> did not immediately understand the value of this collection, which was thought to have been destroyed, he soon realized that among the collection were many rare musical scores and

masks:
Rick Benjamin
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin


texts:
 manuscripts, including unknown compositions by such composers as Scott Joplin, W.C. Handy, Edward MacDowell, Victor Herbert, Jerome Kern and John Philip Sousa. In a 1997 interview with the Herald & Review, he explained the presence of these rare pieces: "Anybody who was anybody in that era would send their scores to Mr. Pryor in hopes that they would be recorded" for Victrola. Controversy over Initial Concert at Juilliard
In 1986 <mask> decided to form a 14-piece orchestra of fellow Juilliard students to perform the music as it had been originally arranged during the period.<mask> made a request to Juilliard to perform a concert of turn-of-the-20th-century American composers but his request was rejected by Juilliard's dean, who felt Juilliard should focus on traditional composers. <mask> scheduled a Mozart program on solo tuba at a concert hall, but instead led a group in performing ragtime music, leaving open the doors to draw in a wider crowd. Before a full house, <mask>'s group played selections by Irving Berlin and Victor Herbert, the W.C. Handy's "Memphis Blues" and Joplin's "Peacherine Two-Step." One witness to the event, Juilliard professor Vincent Persichetti, approached <mask> after the concert was over to encourage him to make it his "life's work" to preserve "America's original music." The concert did not go over well with the dean, who put <mask> on probation for it, but it had a much more positive impact on Grammy award winning Columbia Records executive Thomas Frost, who to <mask>'s surprise was given a recording of the concert and had within a matter of weeks arranged for the first album of the Paragon Ragtime Orchestra to be released. <mask> quit Juilliard without fanfare and has since devoted himself to his orchestra.Lincoln Center Debut
<mask> and the Paragon Ragtime Orchestra made their New York

masks: Benjamin Benjamin Benjamin Benjamin Benjamin Benjamin Benjamin Benjamin Benjamin


texts:
 debut at the Alice Tully Hall at Lincoln Center in March 1988 with a program consisting of a medley of music from the 1890s and 21 songs from the period ranging 1905 to 1920 which <mask> had found among Pryor's papers. Allan Kozinn for the New York Times remarked particularly on the variety of the "abidingly energetic fun" performance, which included "a concert waltz, a maxixe, one-steps, two-steps, foxtrots and blues, and, of course, numerous rags, some quite picturesque." Musical Activities

Oh, You Kid! In February 1999, <mask> and the Paragon Ragtime Orchestra premiered Oh, You Kid! at the Kennedy Center in Washington, DC, in collaboration with the Paul Taylor Dance Company. The work was commissioned under the Doris Duke Millennium Awards for Modern Dance and Jazz Music of the Kennedy Center and American Dance Festival, which promotes such pairings. Anna Kisselgoff wrote in the New York Times that the show was "exuberant romp to ragtime music."Treemonisha
In June 2003 <mask> and the Paragon Ragtime Orchestra premiered their version of Scott Joplin's opera Treemonisha at the Stern Grove Festival, the oldest festival of its kind in the United States, hosted in an amphitheater in San Francisco. Treemonisha had originally premiered in 1975 with full professional staging by the Houston Grand Opera, but <mask> thought that the Houston staging was "too heavy, too Verdiesque" and spent nearly half of a decade altering it to suit the kind of 12-piece theater pit orchestra prevalent in Joplin's day. In October 2005 <mask> and the Paragon Ragtime Orchestra premiered his version of Treemonisha on the East Coast at Wake Forest University. <mask> has expressed his hope that his simpler orchestration will allow the material to be presented in more modest venues, indicating that Joplin never intended for the "opera" to depend on a

masks: Benjamin Benjamin Benjamin Benjamin Benjamin Benjamin