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 (2002), 6th place (Semi-final)
"Världen utanför" by Barbados (2002), 4th place
"What Difference Does It Make?" Anis don Demina (2019), 5th place (Semi-final)
"Kingdom Come" by Anna Bergendahl (2020), 3rd place
"Ballerina" by Malou Prytz (2020), eliminated in Second-Chance Round
"Shout It Out" by Mariette (2020), 10th place
"Miraklernas tid" by Jan Johansen (2020), 7th place (Semi-final)
"Tänker inte alls gå hem" by Arvingarna (2021), 9th place
"Still Young" by Charlotte Perrelli (2021), 8th place
"Bigger Than the Universe" by Anders Bagge (2022), TBA
"Higher Power" by Anna Bergendahl (2022), TBA
"Fyrfaldigt hurra!" by Linda Bengtzing (2022), 4th place (Semi-final)

Melodi Grand Prix entries (Norway)

"Din hånd i min hånd" by Kikki, Lotta & Bettan (2003), 4th place
"Anyway you want it" by Ingvild Pedersen (2003), 8th place
"Absolutely Fabulous" by Queentastic (2006), 3rd place
"Ven a bailar conmigo" by Guri Schanke (2007), 1st place (18th in ESC 2007 Semifinal)
"Rocket Ride" by Jannicke Abrahamsen (2007), 2nd place
"High on Love" by Reidun Sæther (2012), unplaced in Final

Dansk Melodi Grand Prix entries (Denmark)

"In a Moment Like This", Chanée & Tomas N'evergreen (2010), 1st place (4th in ESC 2010)
"Let Your Heart Be Mine", Jenny Berggren (2011)
"25 Hours a Day", Le Freak (2011), 4th place
"We Own The Universe", Daze (2013), unplaced in Final
"Mi Amore", Tina & René (2015), 7th


type: original

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 place

Euroviisut and UMK entries (Finland)

"Who Cares About A Broken Heart?" by Johanna (2002), 5th place
"Say You Will, Say You Won't" by Ressu (2002), 4th place
"I Can't Stop Loving You" by Kirsi Ranto (2004), 10th place (Semi-final)
"Till The End Of Time" by Arja Koriseva (2004), 10th place
"Domino" by Saara Aalto (2018), 2nd place

Eirodziesma entry (Latvia)

"Heaven In Your Eyes" by Elina Furmane (2006), 8th place

Selecţia Naţională entry (Romania)

"Lovestruck" by Indiggo (2007) [disqualified]
The girl duo Indiggo which was going to perform the song was disqualified because they did not turn up in time for a rehearsal. Additionally, an instrumental version of the song was sent not in time to the TV company.Piosenka dla Europy entries (Poland)

"Viva la musica" by Man Meadow (2008), 3rd place
"Love Is Gonna Get You" by Man Meadow (2009), 6th place

Eurosong entry (Belgium)

"Addicted to You", Tanja Dexters (2008), 5th place (Semi-final)

Spanish selection entries (Spain)

"I Am As I Am", Arkaitz (2007), non-qualified. The songwriters denied the accusation, but after the Belgian songwriters and the author's organisation SABAM pressed for legal action, a cash settlement was agreed. References

External links
 G:songs website

1968 births
Living people
Swedish composers
Swedish male composers
Melodi Grand Prix composers
Melodi Grand Prix
Swedish rock guitarists
Eurovision Song


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<mask> (born 1947) is an American woodworker who carves fine art spoons in many styles including natural, biomorphic, abstract, symbolic, ethnic, and ceremonial. His works are in the permanent collections of the Smithsonian American Art Museum's Renwick Gallery, the Yale University Art Gallery, the Philadelphia Museum of Art, and other public and private collections. He is a frequent participant in woodworking and craft shows in America, and won the Award of Excellence in Wood at the 2015 American Craft Council show in Baltimore and the 2015 Smithsonian Craft Show in Washington, DC. Since 2008, he has co-directed a grant-funded research project on the life, work, and legacy of American woodworker Emil Milan. Early life and education
Born in Salisbury, MD, Sartorius grew up on Maryland's Eastern Shore, the son of a country doctor. In interviews, he said that the arts were not emphasized in his family, but he was highly attuned to nature as a child. He received his BA in Psychology from Western Maryland College (now McDaniel College) in 1969, then worked as a psychiatric social worker for five years at Spring Grove State Hospital in Catonsville, MD.He changed careers and completed an apprenticeship with crafters Phil and Sandye Jurus (Jurus Studio, Baltimore, MD), who had studied with Emil Milan. There, he learned how to make small functional wooden items, including spoons. Early career
In the mid-1970s, he moved to rural West Virginia and started selling wooden works including cutting boards, pie servers, canes, knife racks, and spoons at regional craft fairs. At Winterfair, an annual Ohio Designer Craftsmen show in Columbus, Ohio, he met studio furniture maker Bobby Reed Falwell, who encouraged him to focus on spoons and to see spoons as small sculptures. He was an assistant for 18 months at Falwell's studio in Murray, KY in 1980-81. Early exhibitions of his fine art spoons included the West Virginia Craft Exhibit at the Union Carbide Gallery, New York City (1977) and an invitational exhibit of West Virginia


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 craft at the Renwick Gallery of the Smithsonian's American Art Museum in Washington, DC (1979). In 1978, a work of his was selected for the Fine Woodworking Design Book.He was juried into the American Craft Council craft show in Baltimore for the first time 1979. In 1981, and again in 1989 and 1991, he received the Governor's Award of Excellence at the West Virginia Juried Exhibition, resulting in the works being purchased for the state's permanent craft collection. The annual Mountain State Art and Craft Fair in Ripley, WV  was particularly important as a proving ground for his maturing design style and craft business. He met his future wife, glass artist Diane Bosley, at the annual Fair in 1981,  moved to Parkersburg, WV in 1982, and they married in 1983. In 1986, his spoons were featured in an exhibit at the Pro-Art Gallery in St. Louis in conjunction with the Craft Alliance's high-level Wooden Vessels exhibit. Other early exhibits included the Huntington Gallery (WV) traveling craft exhibit (1985–86); another exhibit at the Pro-Art Gallery entitled  The Medium is Wood (1987); and the exhibit Contemporary Works in Wood at the Cultural Arts Center, Athens, Ohio (1986, 1989). The 1990 American Craft Council show in Atlanta has been cited as a major turning point for Sartorius' career.He focused exclusively on high end spoons and redesigned his booth to create a gallery-like environment, presenting each spoon as a sculpture. Artistic approach and influences
Sartorius has stated that he sees the concept of "spoon" like any other craft category such as "bowl," "plate," or "teapot," in that each allows endless exploration of form, size, color, texture, symbolism, meaning, and emotional valence. His works have been said to  not only "explore the possibilities of what it means to be a spoon," but "play with deep-seated assumptions regarding a spoon's characteristics." He has stated that, "Spoons are an infinite category. You can make thousands and no two are alike." He credits James Krenov's book A Cabinetmakers'


texts: Notebook (1976) with stimulating his sensitivity to the unique character of each piece of wood. He attributes his sculptural style that shuns embellishment in favor of pure line and form to Emil Milan, an American woodworker who trained as a sculptor.Although Sartorius never met Milan, his first mentors, Phil and Sandye Jurus, studied with Milan and passed on key aspects of his approach and tool use. Sartorius' sculpture Homage now in the Yale University Art Gallery is a tribute to Milan. Other acknowledged influences are Dona Meilach's books on small wooden works and articles in the early volumes of Fine Woodworking magazine. Sartorius has acknowledged several sources of inspiration. First, he has drawn on spoon-making traditions in diverse cultures ranging from Northwest Coast Native American horn spoons to carved spoons from West Africa. In 1996, he obtained a grant to study and photograph spoons from around the world at the Smithsonian's repository in Suitland, MD. Second, he stated in an interview that  he "sees spoons" in everything, particularly in natural forms such as seedpods, leaves, flowers, and found and weathered objects.It has been noted that the influence of seashells, crustaceans, shore birds and other sealife often show through in this work. Third, he is inspired by the wood itself, particularly contrasting heartwood and sapwood colors, unusual grain, knots, textures, or weathering in a piece. Every piece he crafts, he has said, "starts with the wood itself." He has estimated that the characteristics of the piece of wood itself suggest the size and shape of more than 75% of his finished pieces. Overall, he has described his creative approach as intuitive in that he reacts to the virtues of each piece of wood rather than forcing his own design intentions. "The wood is usually the inspiration for the first cuts," he has said, "And the shape of the piece has to do with the texture, grain, and figure of it..." He has stated that he places his most interesting pieces of wood within sight of his


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 workbench, often for months, to contemplate possible spoons may that lie within. Once he sees the spoon a piece can become, he has said, he acts quickly on the idea because he feels his creative inspirations cannot be turned on and off at will, but must be recognized and acted upon.Wood, tools, and work process
Sartorius prefers to work with very dense hardwood, especially root wood and burls with contrasting heartwood and sapwood colors, figured grain, and unique character from knots, deformities, damage, weathering, or other idiosyncrasies. Frequently, he uses scraps or cutoffs sent to him by other woodworkers from around the world—often with an interesting background story. He, in turn, sends his scraps to carvers and jewelers who work at even smaller scale. The provenance of his raw materials contributes significantly to both the making and the sale of his spoons. He follows the same sequence of steps when crafting his spoons. First, he uses a bandsaw to roughly shape the overall form of the spoon. Then, an inflatable  sanding drum with very coarse 24-grit sandpaper is used to remove saw marks, smooth out the facets of the cuts, and shape the convex curves of the exterior of the bowl.He determines the exterior shape first before working on the inside of the spoon bowl. "It fixes the outside form," he has said, "which is sculpturally what one sees first." A die grinder (rotary tool) with a carbide cutter is then used to remove mass from the concave interior of the bowl. Small cutters are used to further shape the piece, particularly the transition between the bowl and the handle, which he sees as particularly critical. The fine details of the spoon are made with a carving knife, then a die grinder with a ball-shaped burr is used to clean up and refine the interior of the spoon bowl. This is followed by hours of hand work, sanding, scraping, and polishing the work. Selected works

Shows and awards
For the past 25 years, Sartorius has participated in several juried craft shows each year including the


texts:
 Smithsonian Craft Show; the American Craft Council Fairs (principally Baltimore and Atlanta); the Philadelphia Museum of Art Craft Show; the American Craft Exposition (Evanston, IL); the West Palm Beach Craft Show; and Craft Boston, among  others.He has won the Award of Excellence for wood at the Smithsonian Craft Show four times, most recently in 2015. He won the Collectors of Wood Art Award for Excellence at the American Craft Council Baltimore show in February 2015. He has aso won the Best of Show award and the Wharton Esherick Award at the Philadelphia Museum of Art Craft Show; and Best In Wood awards at both the Washington Craft Expo and the American Craft Exposition in Evanston, IL. In 2014, he was awarded a Fellowship by the Tamarack Artisan Foundation for lifetime achievement in the arts. Exhibitions
Beyond Boundaries (2014)
Sponsored by the Collectors of Wood Art and curated by Emily Zilber, Decorative Arts Curator, Museum of Fine Arts Boston, the Beyond Boundaries exhibit was held at the Sculptural Objects and Functional Art (SOFA Chicago) show, November 2014. It included Sartorius' work "Monument Valley" carved from Australian flame sheoak burl. Nature in Craft (2013)
Three spoons by Sartorius were in the Nature in Craft exhibit at the Wayne Art Center, Wayne, PA,  December 2013 to January 2014.The exhibit sought to trace how artists incorporate nature in their works through material, concept and execution. Across the Grain (2013)
The Fuller Craft Museum, Brockton, MA, drew from turned and carved works, including eight spoons by Sartorius for the Across the Grain exhibit held April 10 – September 10, 2013. Poplar Culture (2012)
Celebrating a poplar tree that for decades graced Wharton Esherick's studio, the Wharton Esherick Museum distributed the wood to more than 40 woodworkers including <mask>, who carved three spoons inspired by Esherick's unique studio furniture. The exhibit was held May–June 2012 at Historic Yellow Springs, Chester Springs, PA.

What is Beautiful? (2012)
An exhibit at SOFA


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 Chicago curated by Charlotte Wainwright, founding Director of the Gregg Museum of Art & Design, included two sculptural spoons by Sartorius entitled "Beneath The Surface" and "Classic, 2011." Is Ornament a Crime? (2010)
Curated by Cindi Straus, Director, Museum of Fine Arts, Houston, this exhibit was held at SOFA Chicago, November 2010.Sponsored by the Collectors of Wood Art, this exhibit re-examined the role of decoration in wood art. A Revolution in Wood (2010)
In 2010, the Smithsonian American Art Museum held a major exhibition of the collection of wood art by Fleur and Charles Bressler entitled A Revolution In Wood. The exhibit included six spoons by Sartorius, opened in the Renwick Gallery September 24, 2010 and ran through January 30, 2011 in Washington, DC. A Gathering of Spoons (2010)
<mask> extensive collection of carved wooden spoons was the focus of an exhibit entitled "A Gathering of Spoons" held at the Gallery of Wood Art, St. Paul, MN, March 2 to May 24, 2010. A symposium on the exhibit was held at the American Association of Woodturners annual meeting, Hartford, CT, June 18 – 20, 2010. DysFUNctional (2008-2011)
The Center for Art in Wood's seventh "Challenge" to wood artists led to an exhibit of highly creative, often humorous, and entirely nonfunctional works entitled "DysFUNctional". Held at the Center in Philadelphia, PA, October 3, 2008 - January 17, 2009, the exhibit included Sartorius' work Old and In the Way made from desert wood from Texas.The exhibit toured five other venues across the US from 2009-2011. Yale Collects Wood (2002)
Pat Kane, Curator of American Decorative Arts at the Yale University Art Gallery drew from the gifts of John and Robyn Horn to create the exhibit Yale Collects Wood. "Wood--Small Treasures (2000-2002, 2004, 2006-2007, 2009)
A series of exhibits held at del Mano Gallery, Los Angeles, California, have showcased smaller works by leading artists in wood.Woodturning in North America Since 1930 (2001-2002)
A collaboration between the Center for Art in Wood and the


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 Yale University Art Gallery produced a major book on the evolution of woodturning in America and a corresponding exhibit that toured the Minneapolis Institute of Arts, Minneapolis, MN (2001); the Renwick Gallery, National Museum of American Art, Washington, DC (2002); and the Yale University Art Gallery, New Haven, CT (2002). The exhibit included a ceremonial spoon sculpture by Sartorius entitled Spoon From a Forgotten Ceremony.Objects for Use: Handmade by Design (2001-2002)
Letter openers by Sartorius were included in this exhibit of functional works at the American Craft Museum, New York, New YorkLiving With Form (2000)
This exhibit focused on the collection of wood art by Robyn and John Horn, who have more than 50 spoons by Sartorius.Art in Embassies Program (1998-2001)
This program places works by American artists in US embassies around the world. A spoon from Fleur Bresler's collection was exhibited at the American Embassy, Brussels, Belgium.Expressions in Wood (1997-98)
Featuring masterworks from The Wornick Collection, including "Spoon From a Forgotten Ceremony," this exhibit toured the Oakland Museum of California, 1997; McAllen International Museum, McAllen, TX, 1997; and the American Craft Museum, NY, 1998West Virginia Juried Exhibition (1995–96, 1999-2000, 2005, 2007, 2008)
Sartorius has been selected many times for this exhibit in his home state by the West Virginia Department of Culture and History, Parkersburg, WV. Challenge V, Lathe-Turned Objects, (1994–97)
The fifth in the "Challenge" series to woodworkers, this exhibit by the Wood Turning Center (now Center for Art in Wood) in Philadelphia, PA was a breakthrough for Sartorius who added lathe work to his repertoire and opened up a new clientele of collectors. His iconic work "Spoon From a Forgotten Ceremony" toured with this exhibit starting at the Berman Museum Collegeville, PA to twelve other venues across the US.[[American craft#The Year of American Craft|The Year of American Craft]] (1993–94)
President George H. W. Bush declared 1993 "The


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 Year of American Craft," resulting several regional traveling exhibits. Sartorius' works were included in the exhibits at the Huntington Museum of Art, Huntington, WV; West Virginia Department of Cultural and History, Charleston;; Sunrise Museums, Charleston; and the Governor's Mansion, State of West Virginia. Major works

Permanent collections
Works by Sartorius are in permanent collections of many museums including the Arkansas Arts Center; the Carnegie Museum of Art (PA); the Center for Art in Wood (PA); the Fuller Craft Museum (MA); the Minneapolis Institute of Arts; the Museum of Art and Design (NY); the Museum of Fine Arts, Houston (TX); the Philadelphia Museum of Art; the Racine Art Museum (WI); the Smithsonian American Art Museum's Renwick Gallery (DC); and the Yale University Art Gallery (CT). The Emil Milan research project
Since 2008, Sartorius has collaborated with woodworkers Phil Jurus and Barry Gordon on a research project focused on the life, work, and legacy of American master craftsman Emil Milan. Funded by a grant from the Center for Craft, Creativity, and Design, the Emil Milan Research Project has resulted in an article in Woodwork magazine and a research report containing extensive biographical and archival material. Sartorius played a major role in curating the exhibit entitled Emil Milan: Midcentury Designer Craftsman held at the Henry Gallery on the campus of Penn State Great Valley in Malvern, PA June 9 – September 26, 2014. The exhibit, which included works by Sartorius, traveled to the Center for Art in Wood in Philadelphia and was expanded to include 19 artists influenced by Milan.The exhibit,  entitled Rediscovering Emil Milan and his Circle of Influence, was  held at the Center November 7, 2014 – January 24, 2015. <mask> was a speaker and panelist at a symposium held in conjunction with the exhibit focusing on Milan’s life, work, and influence. Notes

References

1947 births
American woodcarvers
Living people
Artists from Maryland
Artists from West Virginia
Western Maryland


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<mask> (March 4, 1957October 8, 2020) was an American journalist and author. He was a reporter and columnist with The New York Times, and the author or co-author of six non-fiction books. A native New Yorker, Dwyer wrote columns for New York Newsday and the New York Daily News before joining the Times. He appeared in the 2012 documentary film Central Park Five and was portrayed on stage in Nora Ephron's Lucky Guy (2013). Dwyer had won the Pulitzer Prize in 1995 for his "compelling and compassionate columns about New York City" and was also a member of the New York Newsday team that won the 1992 Pulitzer for spot news reporting for coverage of a subway derailment in Manhattan. Biography
<mask> was born on March 4, 1957, in Manhattan, one of four sons of Philip and Mary (née Molloy) <mask>, who were Irish Catholic immigrants. Dwyer graduated from the Msgr.William R. Kelly School in 1971. At the Loyola School, he played several sports, joined the drama club, was editor of the school newspaper and graduated in 1975. He later attended Fordham University where he earned a bachelor’s degree in general science, in 1979. While in Fordham, future Governor of New York Andrew Cuomo was his classmate. In 1980, he received a master’s degree from the Columbia University Graduate School of Journalism. Dwyer married Catherine Muir, a professor of computer sciences, in 1981. They had two daughters; Maura <mask> and Catherine Elizabeth <mask>.Dwyer died on October 8, 2020, at the age of 63, due to complications of lung cancer. Career
In 1992, Dwyer was a member of a team at New York Newsday that won the Pulitzer Prize for Spot News Reporting for their coverage of the 1991 Union Square derailment, and in 1995, as a columnist with New York Newsday, he received the Pulitzer Prize for Commentary for compassionate and compelling columns about New York

masks:
Jim Dwyer
Dwyer
Dwyer
Dwyer
Dwyer


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 City. Besides The New York Times and Newsday, he worked at the Hudson Dispatch, the Elizabeth Daily Journal, The Record of Hackensack, and the New York Daily News. He joined the Times in May 2001 and contributed to the paper's coverage of the September 11 attacks, the invasion of Iraq, and how intelligence was allegedly manipulated to create the illusion that Iraq possessed weapons of mass destruction. He was the About New York columnist at the Times from April 2007 until his death in 2020. Works
<mask> is the author or co-author of six non-fiction books, including the below:

More Awesome Than Money
More Awesome Than Money: Four Boys, Three Years, and a Chronicle of Ideals and Ambition in Silicon Valley (published November 2015), is a non-fiction account of four boys who set out to combat Facebook’s monopoly on social media by building an alternative social network called Diaspora. Writing in The Daily Beast, Jake Whitney described the book as "a thrilling read, astoundingly detailed and researched, alternately suspenseful and heartbreaking."The book follows the four New York University undergraduates as they are inspired by the law professor and historian Eben Moglen to create a better social network, through a deluge of support they receive on Kickstarter in 2010, the death of co-founder Ilya Zhitomirskiy in 2011, up until the transfer of the project in 2013 to a community of free software developers who continue to refine it. Their work is placed in the context of the dynamic relationships between the open web, digital surveillance, and free society, and the continuing efforts of groups like the Mozilla Foundation to prevent domination of the web by commercial interests. "In the shadows, more and more idealists express their opposition in code — hackers with a moral compass," Marcus Brauchli wrote in The Washington Post,


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 calling the book a "lively account" that "finds heroism and success, betrayal and even, ultimately, tragedy in the hurtling pursuit of a cause." False Conviction
False Conviction: Innocence, Science and Guilt (2014), is an interactive book created in collaboration with Touch Press, the leading developer of "living books", and the New York Hall of Science. Using video, animations, and text, the book explores the science behind errors in the courtroom and criminal investigations and shows routine safeguards that other fields use to guard against them. The reader can play interactive games in the book that show how everyday mistakes can turn into false convictions. "Nonscientists will find the book's discussion of these complex scientific questions clear and accessible, and scientists will find them deep and detailed enough to maintain interest and spark further inquiry", Hugh McDonald wrote in the museum journal Exhibitionist."False Conviction makes its case for reform...and does so strongly and engagingly....These compelling stories of tragedy, science and the search for the truth are available for a much broader audience than if they were the subject of a classic bricks and mortar exhibition. With False Conviction, The New York Hall of Science proves that museums can move beyond their own walls to create compelling investigations of complex issues at the intersection of science and society." Conceived by Eric Siegel, the chief content officer of the Hall of Science, and Peter Neufeld, the co-founder of the Innocence Project, the book was developed by the Hall of Science, in consultation with the Innocence Project, with a grant from the Alfred P. Sloan Foundation's program for Public Understanding of Science, Technology & Economics. 102 Minutes

102 Minutes: The Untold Story of the Fight to Survive Inside the Twin Towers (2005),


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 co-written with Kevin Flynn, an editor at The New York Times Company, was a 2005 National Book Award finalist. The book chronicled the 102 minutes that the twin towers of the World Trade Center stood after the attacks of September 11, 2001, began. The sources included interviews with survivors, tapes of police and fire operations, 911 calls, and other material obtained under freedom of information requests including 20,000 pages of tape transcripts, oral histories, and other documents. Actual Innocence and Two Seconds Under the World
Dwyer co-authored Actual Innocence: Five Days to Execution and Other Dispatches from the Wrongly Convicted (2000), a "pathbreaking" exploration of the causes of wrongful convictions.More than a decade after its publication, according to an article in the University of Chicago Law Review: "As had never been done before, Actual Innocence presented story after story of wrongful convictions (and near executions) of the indisputably innocent, with each chapter devoted to exposing each of these flaws in the justice system. Actual Innocence was nothing short of a revelation, a wake-up call concerning the reality of wrongful convictions and the truth-telling power of DNA evidence. It was not merely descriptive; it was also prescriptive, setting out a lengthy recipe of reforms needed to prevent future wrongful convictions." <mask> was the co-author of Two Seconds Under the World (1994), an account of the 1993 bombing of the World Trade Center that explored the early signs of fundamentalist terrorism, and poor coordination by investigating agencies, including the FBI. Subway Lives
<mask> is the author of Subway Lives: 24 Hours in the Life of the New York Subways (1991), which the critic Jonathan Yardley said was "as good a book about New York as you could hope to find." It follows the lives of six New

masks: Dwyer Dwyer


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 Yorkers and is set on the day the last graffiti-covered train was in service. Writing in The Washington Post, Yardley commented: "Subway Lives is a book that not merely tells you everything you secretly wanted to know about subways; it also allows you to see New York from a novel, revealing vantage point...In every way, it's a terrific book."In the Los Angeles Times, Devon Jerslid wrote: "Subway Lives may be hard-boiled, but it's best understood as an epic poem, and Dwyer himself comes across as a faintly Homeric figure, a late 20th-century urban bard who finds something heroic in (and under) the mean streets of Gotham." Much of the material for the book came from his job as the subway columnist from 1986 to 1989 for New York Newsday. Film and theater
The filmmaker Ken Burns described Dwyer as the Greek chorus of the 2012 documentary, Central Park Five, made by Burns, Sarah Burns and David McMahon, on the wrongful convictions of five teenagers in an attack on a jogger. The actor Michael Gaston portrayed Dwyer in Lucky Guy, a play by Nora Ephron about Dwyer's friend Mike McAlary, the late Pulitzer Prize–winning columnist, that ran on Broadway in 2013, starring Tom Hanks as McAlary. Dwyer wrote about McAlary and his conversations with Ephron for The New York Times. Books

References

External links

1957 births
2020 deaths
American columnists
Pulitzer Prize for Breaking News Reporting winners
Pulitzer Prize for Commentary winners
Fordham University alumni
Columbia University Graduate School of Journalism alumni
Newsday people
New York Daily News people
The New York Times Pulitzer Prize winners
Wrongful conviction advocacy
American people of Irish descent
The New York Times people
20th-century American journalists
21st-century American journalists
American male journalists
Deaths from lung cancer
Deaths from cancer in New York


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<mask> (October 8, 1927 – November 1, 2016) was an American, journalist, photographer, and newspaper publisher. He was born in Omaha, Nebraska. His parents, Molly Brick and <mask>, were Jewish Russian immigrants. Lipsey was educated at the Omaha Central High School and graduated from the University of Michigan in 1948. Background and career
Lipsey got his first experience in the newspaper business as a photographer for his high school newspaper, the Central High Register. Later, he was the photography editor for his university yearbook, at the University of Michigan. During the Korean War, he was editor of the Air Pulse newspaper at Offutt Air Force Base, while serving in the Air Force Reserve.in 1953, Lipsey began working at the Omaha Sun, a chain of weekly newspapers that comprised seven paid and five free newspapers in Omaha, Nebraska. He worked as a photographer and writer. Later, he purchased the Sun. In 1969, he sold the struggling newspapers to Berkshire Hathaway, led by Warren Buffett, but remained there, as president and publisher. He became vice president, in 1988, of Berkshire Hathaway, as they continued to try to increase profitability. In 1972, the staff of the Sun Newspapers won the John Hancock Award for Excellence in Business Writing, and the Pulitzer Prize for Local Investigative Specialized Reporting, for their series of stories about Boys Town, which led to reforms of the organization. The Pulitzer Prize was the first time that the prize had been awarded to a small newspaper.In 2008 The Omaha Press Club inducted the (former) Omaha Sun Newspapers, into their initial Journalists of Excellence Hall of Fame for the team's work on the Boys Town series. Berkshire sold the Sun in 1980 and publication ceased three years later, after a legal battle with their competitor, the Omaha World-Herald. After Berkshire purchased the Buffalo Evening News in 1977, Lipsey traveled to Buffalo, at Buffett's request, and later served as publisher of the Buffalo News for 30 years. Lipsey was named as publisher emeritus in 2012. Philanthropy
Lipsey was well known

masks:
Stanford Lipsey
Jacob Lipsey


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 in Buffalo as a publisher, but an article written about him by the Community Foundation for Greater Buffalo summed up his life of philanthropy with the words:

Some of his charitable works and awards he received include:

 1989 the New York State Governor's Arts Award from NY Governor Mario Cuomo for sponsoring the longest running free jazz concert series in the country: The annual summer Buffalo News Jazz at Albright-Knox Concert. As of 2016, it had run each summer for 35 years. 1997 Spirit of Wright Award for leading the largest Frank Lloyd Wright restoration project: the Darwin Martin House, in Buffalo, NY.The largest restoration project in the world. 1998 the New York State Governor's Parks, Preservation, and Historic Restoration Award from NYS Governor, George Pataki. 2011 Lipsey established the Central High School Foundation where he attended high school in Omaha, NE. 2016 <mask> (legacy donor) and his wife made a multi-million dollar donor to the preservation and restoration of the Richardson Olmsted Complex, in Buffalo, NY. He had advocated fundraising in 2006 with Governor George Pataki. Lipsey established a Charitable Remainder Trust, and in 2016 the proceeds were paid to the Jewish Federation of Omaha, for the benefit of The Jewish Press. Lipsey served the community, not just with charitable giving, but as a public servant too.The Desert Sun published an extensive list of board memberships in his obituary, as shown below:

"Lipsey served on the boards of the American Newspaper Publisher Association, Artpark & Company, Buffalo Niagara Partnership, Buffalo Philharmonic Orchestra Board, Buffalo State College Foundation, Business Council of New York State, Canisius College, Greater Buffalo Development Foundation, Jewish Foundation of WNY, Junior League Decorator Show House, Korean War National Museum, Marine Midland Bank, Martin House Restoration Corporation, National Conference of Christians and Jews, National Multiple Sclerosis Society, Nebraska/Iowa Chapter, Newspaper Advertising Bureau, Richardson Restoration Corporation, Roswell Park


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 Comprehensive Cancer Center Community Council, the University of Buffalo Foundation, and the Guide Dogs of the Desert in Palm Springs, CA, that led to the adoption of his loyal dog, Linus. He was also a MacCallum Theatre Founder's Member, and a member of Morningside Country Club." Personal life and death
Lipsey had a passion for the arts, and was an accomplished photographer, having a special appreciation for architecture and landscapes. His photography was exhibited at 13 museum and gallery exhibitions, including his alma mater, the University of Michigan, at the James and Anne Duderstadt Center Art Gallery. The exhibit, titled "Affinity of Form" featured 48 large-scale images that had been published by powerHouse books. Lipsey was widely respected and his philanthropic endeavors supported a broad range of community service ranging from historic preservation to assistance for the SPCA. After learning of his death, U.S. Sen. Charles Schumer referred to Lipsey as "Buffalos true guardian angel" and NY Governor Andrew Cuomo said, "Today, we lost a great New Yorker, but as we mourn his loss, we can find comfort that he was able to see his dream for Buffalo in action.There was no better friend to Buffalo than Stan Lipsey, and for that, we will always be grateful." His death was memorialized in a tribute to his life and contributions to the community by members of the New York State Senate in a NY Senate Resolution: "Mourning the death of <mask>, veteran, philanthropist, Pulitzer Prize acclaimed publisher and former publisher of the Buffalo News." Lipsey was married twice: first to Jeanne Blacker, and secondly to Judith Hojnacki. He had a son and a daughter from his first marriage. He resided in Rancho Mirage, California, where he died on November 1, 2016. References

1927 births
2016 deaths
American people of Russian-Jewish descent
Newspaper people from Omaha, Nebraska
People from Rancho Mirage, California
University of Michigan alumni
20th-century American newspaper publishers (people)
21st-century American newspaper publishers (people)
Omaha Central High


texts:
<mask> (born  15 June 1947) is a sociologist working within Marxist social theory, best known as the leading proponent of public sociology and the author of Manufacturing Consent: Changes in the Labor Process Under Monopoly Capitalism—a study on the sociology of industry that has been translated into a number of languages. <mask> is a Professor of Sociology at the University of California, Berkeley. He was president of the American Sociological Association in 2004. In 2006–2010, he was one of the vice-presidents for the Committee of National Associations of the International Sociological Association (ISA). In the XVII ISA World Congress of Sociology he was elected the 17th President of the International Sociological Association (ISA) for the period 2010–2014. Biography
<mask> was born on 15 June 1947. Graduating as a mathematics student from the University of Cambridge in 1968, Burawoy went on to pursue postgraduate study in the newly independent African nation of Zambia, while simultaneously working as a researcher for Anglo American PLC.Completing a master's degree at the University of Zambia in 1972, Burawoy enrolled as a doctoral student at the University of Chicago, finishing a sociology dissertation with an ethnography of Chicago industrial workers, later to become Manufacturing Consent: Changes in the Labor Process Under Monopoly Capitalism. Burawoy joined the Department of Sociology, University of California, Berkeley in 1976 as an assistant professor. He served as Chair of the Department of Sociology for 1996-98, and 2000-02. Aside from Burawoy's sociological study of the industrial workplace in Zambia, Burawoy has studied

masks:
Michael Burawoy
Burawoy
Burawoy


texts:
 industrial workplaces in Chicago, Hungary, and post-Soviet Russia. His method of choice is usually participant observation, more specifically ethnography. He has further expanded the extended case method. For his book The Radiant Past: Ideology and Reality in Hungary's Road to Capitalism (1992) he  worked as a furnace operator in a Hungarian steel plant.Based on his studies of the workplace he has looked into the nature of postcolonialism, the organization of state socialism, and the problems in the transition from socialism. In more recent times, Burawoy has moved away from observing factories to looking at his own place of work—the university—to consider the way sociology is taught to students and how it is put into the public domain. His work on public sociology is most prominently shown in his presidential address to the American Sociological Association in 2004, where he divides sociology into four separate (yet overlapping) categories: public sociology, policy sociology (which has an extra-academic audience), professional sociology (which addresses an academic audience familiar with theoretical and methodological frameworks common to the discipline of sociology), and lastly critical sociology which, like public sociology, produces reflexive knowledge but which is only available to an academic audience, like professional sociology. Selected works

Books

Author (or co-author)
 The Colour of Class on the Copper Mines: From African Advancement to Zambianization. Manchester: Manchester University Press, 1972
 Manufacturing Consent: Changes in the Labor Process Under Monopoly Capitalism. Chicago: University of Chicago Press, 1979
 The


texts:
 Politics of Production: Factory Regimes Under Capitalism and Socialism. London: Verso, 1985
 The Radiant Past: Ideology and Reality in Hungary's Road to Capitalism.Chicago: University of Chicago Press, 1992 (With János Lukács)
 The Extended Case Method: Four Countries, Four Decades, Four Great Transformations, and One Theoretical Tradition (University of California Press), 2009

Collaborative and edited books
 Marxist Inquiries: Studies of Labor, Class and States. Chicago: University of Chicago Press. Supplement to the American Journal of Sociology. Edited with Theda Skocpol, 1983
 Ethnography Unbound: Power and Resistance in the Modern Metropolis. Berkeley: University of California Press, 1991 (With ten coauthors)
 Uncertain Transition: Ethnographies of Change in the PostSocialist World. Lanham, MD: Rowman and Littlefield. Edited with Katherine Verdery, 1998
 От Деревянного Парижа к Панельной Орбите: Модель жилищных классов Сыктывкара.(From Timbered Paris to Concrete Orbita: The Structure of Housing Classes in Syktyvkar). Syktyvkar: Institute of Regional Social Research of Komi, 1999 (With Pavel Krotov and Tatyana Lytkina)
 Global Ethnography: Forces, Connections and Imaginations in a Postmodern World. Berkeley: University of California Press, 2000 (With nine coauthors)

Articles
 "Dwelling in Capitalism, Traveling Through Socialism.]" pp. 21–44 in Baldoz et al. (editors), The Critical Study of Work (Philadelphia: Temple University Press.) Pdf."What Happened to the Working Class?" pp. 69–76 in Kevin Leicht (ed. ), The Future of the Market transition (New York: JAI Press), 2002
 "Sociological Marxism." pp. 459–86 in Jonathan Turner


texts:
 (ed. ), The Handbook of Sociological Theory, 2002 (Plenum Books) (With Erik Wright)
  Pdf.Pdf. Pdf. "The Critical Turn to Public Sociology," pp. 309–322 in Rhonda Levine (ed.) Enriching the Sociological Imagination: How Radical Sociology Changed the Discipline, New York, 2004
  English pdf. "Antinomian Marxist," pp. 48–71 in Alan Sica and Stephen Turner (eds.), The Disobedient Generation: Social Theorists in the Sixties (Chicago: University of Chicago Press), 2005
  Pdf. "Provincializing the Social Sciences." pp. 508–525 in George Steinmetz (editor), The Politics of Method in the Human Sciences: Positivism and its Epistemological Others (Durhman, NC: Duke University Press), 2005
  Pdf. Burawoy's website. Pdf. "Private Troubles and Public Issues," pp.125–133 in Andrew Barlow (editor), Collaborations for Social Justice (Lanham, MD: Rowman and Littlefield), 2007
  Pdf. References

External links

1947 births
Alumni of the University of Cambridge
American ethnographers
American Marxists
American sociologists
Living people
Marxist writers
Presidents of the American Sociological Association
University of California, Berkeley College of Letters and Science faculty
University of Chicago alumni
University of Zambia alumni
World system


texts:
<mask> (born 1949) was the mayor of Chula Vista, California, from 2006 to 2014. She received both a master's degree in political science and a doctorate in education, and moved on to working for Chula Vista Elementary School District as a teacher, principal, and administrator. She is a Republican, and ran for mayor in November 2006 against the incumbent mayor Steve Padilla and Councilman Steve Castaneda, beating both in the election. Biography

Early life and education
<mask> was born Ceryl Willet. She was born in Florida. She is the daughter of retired United States Navy Officer, John Willett. <mask> moved to Virginia, before later moving to San Diego County, California.<mask>, and her husband of 30 years, San Diego County Supervisor and former Chula Vista Mayor <mask>, have two daughters, Elizabeth and Emmie. Both <mask> and her two daughters graduated from Chula Vista's Hilltop High School. <mask> received a bachelor's degree from the University of San Diego, a master's degree in political science from San Diego State University and a doctorate in education from the University of Southern California. Career
She worked for 30 years as a teacher, principal, and administrator in the Chula Vista Elementary School District; she was also an assistant professor at National University before being elected to the Chula Vista Elementary School District Board of Trustees in 2000. <mask> served as a member of the City of Chula Vista Charter Review Commission, Nature Center Board of Trustees and the President of the Sharp Chula Vista Medical Center Board of Directors. Her membership of the Chula Vista Charter Review Commission began in 2002. Her membership of the

masks:
Cheryl Cox
Cox
Cox
Cox
Greg Cox
Cheryl
Cox
Cox


texts:
 Chula Vista Medical Center Board of Directors lasted nine years, and included a stint as its president.<mask> also served on Chula Vista's Ad Hoc Committee for Campaign Finance Reform, which made revisions to clarifications to the city's campaign finance regulations which were adopted by its city council. From 2003 through 2005, <mask> was an inaugural member of an independent ten-member Urban Development Committee which created a recommended plan of how the city could productively use redevelopment to its advantage, submitting its plan to the Chula Vista City Council in 2005. Mayoralty

Election
<mask>, a Republican, was elected the 39th mayor of Chula Vista, the second largest city in San Diego County, in November 2006 in a runoff vote against incumbent mayor Steve Padilla. In the June 2006 primary election, she garnered 40.5% of the vote to then-mayor Steve Padilla's 30.8%, and Councilman Steve Castaneda's 24.8% of the vote. With no candidate securing a majority of the vote, the top two finishers, <mask> and Padilla, advanced to a runoff, which <mask> won. In the election, <mask> received endorsements from the Deputy Sheriffs' Association of San Diego County, Lincoln Club of San Diego, and San Diego County Apartment Association. In addition to these organizations she was endorsed by several Republican politicians, including her husband <mask>, Shirley Horton, Darrell Issa, George Plescia, Mark Wyland.Tenure

While mayor, <mask> was a member of the Mayors Against Illegal Guns Coalition, an organization formed in 2006 and co-chaired by New York City mayor Michael Bloomberg and Boston mayor Thomas Menino. During <mask>'s first term, major setbacks were

masks:
Cox
Cox
Cox
Cox
Cox
Cox
Greg Cox
Cox
Cox


texts:
 dealt to the city's important waterfront redevelopment plan. Also during <mask>'s first term, there were negotiations with the San Diego Chargers, which was considering building a stadium i the city. However, leadership of the team began publicly feuding with <mask>, which openly made it clear that they preferred to negotiate with city councilman John McCann over <mask>, with the team's Special Counsel Mark Fabiani going as far as to deride <mask> as a "weak mayor in a weak-mayor city". The city experienced financial difficulties during <mask>'s tenure, teetering on the brink of bankruptcy. A 1% citywide tax increase she had supported to help resolve the city's finances was heavily defeated by voters in May 2009, receiving 32.5% support and 67.5% opposition at the special election held on the measure. <mask> had success in raising the city's credit rating.Despite the troubles of her first term, <mask>, won re-election for Mayor in the June 2010 Primary election in a three-person race by winning 56.3% of the vote, her opponent Councilman Steve Castaneda garnered 29.6% and Jorge Dominguez received 13.6% of the vote. San Diego D.A. investigations of <mask>'s political rivals
In April 2007, the Public Integrity Unit of San Diego District Attorney Bonnie Dumanis began prosecuting political opponents of <mask>. Patrick O'Toole, who had previously been appointed as US Attorney for San Diego by Attorney General John Ashcroft, headed the unit. O'Toole prosecuted a staffer for mayor Steven Padilla who had taken two hours off work in an effort to get a photograph of <mask> with her disgraced family friend David Malcolm at a twilight yacht party fundraiser for

masks:
Cox
Cox
Cox
Cox
Cox
Cox
Cox
Cox
Cheryl Cox
Cheryl Cox


texts: <mask>. The staffer was charged with five felony counts of perjury for telling a grand jury that he filled out his leave slip from work before rather than after he took off from his job at the City of Chula Vista. He pleaded guilty to lesser charges as part of a plea deal.The now-dormant unit ended its active phase with a second and final prosecution, that of Steve Castaneda, who had run against <mask> for mayor. Castaneda was prosecuted for allegedly lying about whether he planned to buy a condo, even though he never bought the condo in question. According to the San Diego Union Tribune, "Castaneda was a tenant at the complex and was accused of seeking favors, such as free rent, from Sunbow owner Ash Israni, according to the 1,200-page grand jury transcript. The investigation found that Castaneda paid his rent and didn't ask for special treatment. O'Toole told the grand jury the perjury charges are warranted because Castaneda should be held accountable for 'lying about the facts'; even if no crime was uncovered...Castaneda has been vocal about O'Toole's investigations, saying they are politically motivated. He contended that Dumanis conspired with Chula Vista Mayor <mask>, his political rival in the 2006 mayoral primary." In April 2014, questions were raised about political interference by San Diego County District Attorney Bonnie Dumanis in that election.In late 2005 Steve Padilla received a phone call from Dumanis asking him to support her employee Jesse Navarro for city councilman. Mr. Padilla did not comply. The phone call raises questions about possible political motivations for the ensuing prosecutions of a staffer of Steve Padilla and of Steve

masks:
Cox
Cheryl Cox
Cheryl Cox


texts:
<mask> was an American blues and boogie-woogie pianist who accompanied a couple of St. Louis-based singers on recording sessions in 1929, and recorded two tracks of his own the following year, which were original. All of his recordings utilized the I and IV chords of the usual blues progression, completely omitting the V chord. One of <mask>'s tracks,  "was one of the finest train/railroad tunes". Career
Details of <mask>'s life are sketchy and partly guesswork on the part of blues historians. It is thought that he may have originally hailed from Arkansas and, around the time of his short recording career, that he lived in Alton, Illinois, approximately 18 miles north of St. Louis. However, there are no definitive birth nor death details available from any reliable authority. Equally, no information exists of <mask>'s life prior to his involvement in his first recording session.In October 1929, <mask> provided piano accompaniment to Bessie Mae Smith (not to be confused with Bessie Smith) on two sides, "Farewell Baby Blues" and "St. Louis Daddy", which were released by Paramount Records. The two cuts were also issued on Broadway Records, attributed to Sara Carter with Willis Waldon. The tracks were recorded in Grafton, Wisconsin. In November that year, <mask> recorded again in Grafton, two sides of his own; "No. 29" and "Fanny Lee Blues", also released by Paramount. AllMusic noted that "his two recordings speak volumes of a prodigious talent." In around November 1929 in the same Grafton-based studio, <mask> probably supplied piano backing to Robert Peeples on a couple of tracks; "Dying Baby Blues" and "Mama's Boy", also issued on Paramount.All of his recordings utilized the I and IV chords of the usual blues progression, completely omitting the V chord. It made <mask>'s piano playing unusual, if not quite unique, but as an accompanist this structural and harmonic peculiarity caused Peeples difficulty, as in "Dying Baby Blues", when the expected V chord

masks:
Wesley Wallace
Wallace
Wallace
Wallace
Wallace
Wallace
Wallace
Wallace


texts:
 did not occur. "No. 29"
The "No. 29" in question was a steam locomotive pulling boxcars from Cairo, Illinois, to East St. Louis on the Illinois Central Railroad. "No. 29" utilized an unusual 3/4 meter with a restless, running eighth-note chromatic figure, to depict the train's motion.<mask>'s spoken comments over the top of his playing included his imitation of a train whistle blowing and the engine 'running hot'. <mask> played an abnormally consistent unaccentuated bass line in 6/4 time, with his right hand interspersed by speech and noise effects in recreating the sounds of a train journey. The song contains vivid descriptions of "riding the blinds", a dangerous practice where a hobo would hide between the cars of a moving train. One music journalist noted that "No. 29" "was one of the finest train/railroad tunes". "Fanny Lee Blues"
"Fanny Lee Blues" was a well received instrumental track. <mask>'s phrasing is not predictable, for example "Fanny Lee Blues" ranges from six to eleven  bars per chorus, sometimes including half bars.The rhythm also changes between swing and straight at various places, with the amount of swing changing sometimes from one bar to the next one. Henry Townsend stated "<mask> had beautiful coordination with what he was doing, very timely. The introduction he plays to "Fanny Lee Blues" was a typical sound of this city, that beat." In that, Townsend was referring specifically to St. Louis. In 1977, Magpie Records issued a sixteen track compilation, The Piano Blues Volume One : Paramount 1929-1930, which had both of <mask>'s solo tracks. The album's liner notes stated that <mask> was "an highly individual and eccentric pianist" and that "Fanny Lee Blues" was "common to the St. Louis style" and "played with disregard to bar lengths". Perceived connection to Sylvester Palmer
In November 1929, Sylvester Palmer, another St. Louis boogie-woogie pianist, waxed four sides in Chicago, Illinois for the rival Columbia Records.This led to

masks:
Wallace
Wallace
Wallace
Wesley Wallace
Wallace
Wallace


texts:
 later speculation that <mask> and Palmer were the same person. Palmer similarly used only I and IV chords, and at times the right-hand figuration showed common ground. There are similarities between Palmer's "Broke Man Blues" and <mask>'s "Fanny Lee Blues". However, Henry Townsend knew Palmer very well, and was acquainted with <mask>. Townsend traveled to Chicago with Palmer and when questioned stated "I've heard it said that the piano players <mask> and Sylvester Palmer were one and the same person. Forget it – it's not true. At Sylvester's session I was sitting right in the studio with him, and at my session he was right in the studio with me, and there was no other person involved."In Townsend's book, A Blues Life, he stated he knew both men and was able to cite differences in their playing. Later releases
In May 1933, Jabo Williams recorded "Jab Blues", and this track was issued alongside <mask>'s "No. 29" on a 10-inch 78 rpm "limited edition, released for the subscribers of Jazz Information". The most comprehensive gathering of his output occurred in 1994, when Document Records released St. Louis Barrelhouse Piano - 1929-34 : The Complete Recorded Works of <mask>, Henry Brown & Associates on compact disc. The collection included all six tracks from Smith, Peeples and <mask>, plus Sylvester Palmer's four sides. Both of <mask>'s solo tracks were issued as part of the quadruple CD compilation album, The Paramount Masters (JSP Records, 2004). Discography

Bibliography
 (includes four compact discs of audio recordings)

References

External links
"No.29" on YouTube
"Fanny Lee Blues" on YouTube

Year of birth missing
Place of birth missing
Year of death missing
Place of death missing
American blues pianists
American male pianists
Boogie-woogie pianists
Blues musicians from Arkansas
Musicians from St. Louis
St. Louis blues musicians
Paramount Records artists
20th-century American pianists
People from Alton, Illinois
20th-century American male

masks:
Wallace
Wallace
Wallace
Wesley Wallace
Wallace
Wesley Wallace
Wallace
Wallace


texts:
<mask> (born May 3, 1975 in Simi Valley, California, U.S.) was an American professional "Mid & Current School" Bicycle Motocross (BMX) racer whose prime competitive years are from 1993 to 2003. His nickname is "Thunder". Racing career milestones

Note: Professional first are on the national level unless otherwise indicated. Started racing: In 1981 at six years of age at the Teen Center in Van Nuys, California. He was riding with older kids one day and since they appreciated his talent of being "the wheelie king" of the neighborhood at such a young age they suggested he try racing. Sanctioning body:

Home sanctioning body district(s): American Bicycle Association (ABA) California District 20 (CA-20) (1985); United States Bicycle Motocross Association (USBA) CA-2 (1986)

First race result: <mask> does not recall how well he did overall but he was leading his first moto but went back up the starting hill which was parallel to the straight. He simply did it automatically and without thinking since it was accidentally ingrained into him during the practice sessions previous to the race to avoid the ride back to the starting hill that would be necessary if he ran the entire track in practice.First win (local):

First sponsor: Robinson Racing 1981. First national win:

Turned Professional: December 1992 age 17. First Professional race result:

First Professional win:

First Junior Pro* race result:

First Junior Pro win:

First Senior Pro** race result:

First Senior Pro win:

Retired: October

masks:
Daniel Lee Nelson
Nelson


texts:
 2003, just after the NBL Grandnationals. to devote himself to a new business he was partnered in. he made his formal announcement in a speech to the spectators to the ABA Fall Nationals in Del Mar, California on October 26, 2003 stating it was time to move on. Height & weight at height of her career: Ht:6'4" Wt:200 lbs. *In the NBL "B" Pro/Super Class/"A" Pro/Junior Elite Men depending on the era; in the ABA it is "A" Pro.**In the NBL it is "AA" Pro/Elite Men; in the ABA it is "AA" Pro. Career factory and major bike shop sponsors

Note: This listing only denotes the racer's primary sponsors. At any given time a racer could have numerous co-sponsors. Primary sponsorships can be verified by BMX press coverage and sponsor's advertisements at the time in question. When possible exact dates are given. Amateur
Robinson Racing: 1981-Early November 1983
GT (Gary Turner) Racing: Early November 1983-December 1986
Robinson Racing: January 1987-November 1991
GT Bicycles: November 1991-December 1992. GT underwent a minor name change since his first term with GT.Powerlite Industries: December 1992-December 2000. <mask> will turn pro with this sponsor. Professional
Powerlite Industries: December 1992-December 2000
Hot Wheels/GT Bicycles/Troy Lee Designs: December 2000-October 2001
Troy Lee Designs: October 2001-Mid December 2001. Troy Lee became Nelson's primary sponsor between GT and Giant. Giant/Troy Lee: Late December 2001-October 2003. After the NBL Grand Nationals just before Giant Bicycles dropped


texts:
 the Professional members of its team. He would retire within weeks to pursue a business opportunity.Career bicycle motocross titles

Note: Listed are District, State/Provincial/Department, Regional, National, and International titles in italics. "Defunct" refers to the fact of that sanctioning body in question no longer existing at the start of the racer's career or at that stage of his/her career. Depending on point totals of individual racers, winners of Grand Nationals do not necessarily win National titles. Series and one off Championships are also listed in block. Amateur
National Bicycle Association (NBA)
None
National Bicycle League (NBL)
1982 7 Expert Grandnational Champion
1990 16 Cruiser Grandnational Champion
1991 17 Expert and 17 Cruiser Grandnational Champion
1991 17 Expert National No.2
1992 17-20 Cruiser Grandnational Champion
American Bicycle Association (ABA)
1982 8 Expert 2nd Place Jag World Champion (ABA sanctioned)
1985 10 Expert Winter Season California District 20 (CA-20) District Age Group (DAG) No.1
1985 11 Expert Grandnational Champion
1985 11 Expert National No.1†
1986 12 Cruiser California District 20 (Cal-20) No.1
1992 18 Expert and 17-20 Cruiser Grandnational Champion

†Beginning in the 1985 season the ABA made it possible to earn an amateur national no.1 plate in the age group of the racer, similar to NBL practice. However, the ABA still had an overall National No.1 amateur which was J. Brent Romero in 1985. United States Bicycle Motocross Association


texts:
 (USBA)
None
International Bicycle Motocross Federation (IBMXF)*
1982 7 Expert Grand Prix of BMX Champion
Fédération Internationale Amateur de Cyclisme (FIAC)*

Union Cycliste Internationale (UCI)*
None

*See note in professional section.Other Titles:

1983 9 Expert Jag World Champion (Non sanctioned)

Professional

National Bicycle Association (NBA)
None
National Bicycle League (NBL)
1994 All Pro Grandnational Champion
1999 National No.1 Pro
American Bicycle Association (ABA)
2002 "AA" Pro Grandnational Champion
2002 National No.1 Pro
United States Bicycle Motocross Association (USBA)
None (defunct)
International Bicycle Motocross Federation (IBMXF)*
None
Fédération Internationale Amateur de Cyclisme (FIAC)*
None
Union Cycliste Internationale (UCI)*
1994 Superclass 20" World Champion. *Note: Beginning in 1991 the IBMXF and FIAC, the amateur cycling arm of the UCI, had been holding joint World Championship events as a transitional phase in merging which began in earnest in 1993. Beginning with the 1996 season the IBMXF and FIAC completed the merger and both ceased to exist as independent entities being integrated into the UCI. Beginning with the 1996 World Championships held in Brighton, England the UCI would officially hold and sanction BMX World Championships and with it inherited all precedents, records, streaks, etc. from both the IBMXF and FIAC. Pro Series Championships

BMX product lines
Robinson "<mask> Jr. Pro" Mini 20" bicycle introduced 1982.Product Evaluations:

Notable


texts:
 accolades
He is an ABA BMXer magazine 1993 Golden Crank Pro Rookie of the Year winner. He is a winner of the 1999 VISA/USAC Athletes of the Year Award. He also received US$1,000 in prize money. Significant injuries
Suffered a knee injury high jumping at school in approximately May 1985. Injury side lined him until the ABA Grand Nationals in November 1985. Had post season knee surgery in December 1990. Inflamed knee in late summer of 1992.Missed the ABA Midwest nationals but was back by the next ABA national. Pulled his groin in the Summer of 1999. He was laid up for one race, coming back for the ABA Mile High Nationals. Racing habits and traits

Miscellaneous

Post BMX career
<mask> retired immediately after the 2003 NBL Grandnationals ending his 23-year career to pursue a business opportunity of being a partner in a thrift store. His workload of helping to run this new business and racing was impacting both his opportunity with the business and racing. As he said at the time in an interview that was printed in the February 2004 issue of Transworld BMX:

The full, illustrated website version of the interview, originally posted on January 8, 2004, can be seen here. BMX and general press magazine interviews and articles
"Around the States in 48 days" BMX Action December 1987 Vol.12 No.12 pg.58 Mini interview conducted along with teammates "Chicken" George Severs and Robert Swick also interviewed while the GT Racing team was on tour during the summer of 1987."The Quiet Sound of Thunder..."


texts:
 Snap BMX Magazine July/August 1997 Vol.4 No.4 Iss.17 pg.53
"<mask>: Heavy Thunder and New Reign" Snap BMX Magazine January 2000 Vol.7 Iss.1 No.39 pg.78
"Thunder Rolls Out" Transworld BMX February 2004 Vol.11 Iss.2 No.88 pg.17 Brief article on reason for <mask>'s retirement. BMX magazine covers

Note: (defunct) denotes that the magazine was out of business before the career of the racer started. Bicycle Motocross News:
None (defunct)
Minicycle/BMX Action & Super BMX:
None
Bicycle Motocross Action & Go:
February 1991 Vol.2 Iss.4 in center in with freestyler Todd Lyons in the left insert and freestyler Ron Wilkerson in the right insert. (Go)
BMX Plus! :
December 1993 Vol.16 No.12 (51) ahead of Steve Veltman. In insert freestyler Dave Mirra. June 1998 Vol.21 No.6 (6) with Kiyomi Waller (18).Total BMX:

Bicycles and Dirt:
None
Snap BMX Magazine & Transworld BMX:
Snap BMX Magazine May/June 1996 Vol.3 Iss.3 No.10 Launching of the starting gate with Mike King (25) directly to his left. To his right is Six unidentified racers. Waiting his turn on the starting gate directly behind Mike King is Greg Romero (6). Snap BMX Magazine May 2000 Vol.7 Iss.5 No.43 (1) slightly behind Matt Pohlkamp (7) and Eric Abbadessa (9). In top insert Brian Foster. Twenty BMX:

Moto Mag:
None
BMX World:

NBA World & NBmxA World (The official NBA/NBmxA publication):

Bicycles Today & BMX Today (The official NBL publication; one name change):
June 1983 (BToday)
ABA Action, American BMXer, BMXer (Three incarnations of the

masks:
Danny Nelson
Nelson


texts:
 official ABA publication):
American BMXer June 1985 Vol.7 No.4
USBA Racer (The official USBA membership publication):

Notes

External links
 The American Bicycle Association (ABA) Website. The National Bicycle League (NBL) Website.May 5, 2000 bmxonline.com interview. Living people
American male cyclists
BMX riders
People from Simi Valley, California
1975 births
Sportspeople from Ventura County,


texts: <mask>  (born November 12, 1945) is a Canadian-American singer, musician and songwriter. After embarking on a music career in Winnipeg in the 1960s, <mask> moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since the beginning of his solo career with his backing band Crazy Horse, <mask> has released many critically acclaimed and important albums, such as Everybody Knows This Is Nowhere, After the Gold Rush,  Harvest, On the Beach and Rust Never Sleeps. He was a part-time member of Crosby, Stills, Nash & Young. <mask> has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield. In 2000, Rolling Stone named <mask>  No.34 on their list of the 100 greatest musical artists. According to Acclaimed Music, he is the seventh most celebrated artist in popular music history. His guitar work, deeply personal lyrics and signature high tenor singing voice define his long career. He also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical genres. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname "Godfather of Grunge" and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real. 21 of his albums and singles have been certified Gold and Platinum in U.S by RIAA certification.<mask> directed (or co-directed) films using the pseudonym "Bernard Shakey", including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He

masks:
Neil Perval Young
Young
Young
Young
Young
Young


texts:
 also contributed to the soundtracks of the films  Philadelphia (1993) and Dead Man (1995). <mask> has lived in California since the 1960s but retains Canadian citizenship. He was awarded the Order of Manitoba in 2006 and was made an Officer of the Order of Canada in 2009. He became a United States citizen, taking dual citizenship, in 2020. Early life (1945–1963)
<mask> was born on November 12, 1945, in Toronto, Canada. His father, Scott Alexander <mask> (1918–2005), was a journalist and sportswriter who also wrote fiction.His mother, Edna Blow Ragland "Rassy" <mask> (1918–1990) was a member of the Daughters of the American Revolution. Although Canadian, his mother had American and French ancestry. <mask>'s parents married in 1940 in Winnipeg, Manitoba, and moved to Toronto shortly thereafter where their first son, Robert "Bob" <mask>, was born in 1942. Shortly after <mask>'s birth in 1945, the family moved to rural Omemee, Ontario, which <mask> later described fondly as a "sleepy little place". <mask> contracted polio in the late summer of 1951 during the last major outbreak of the disease in Ontario, and as a result became partially paralyzed on his left side. After the conclusion of his hospitalization, the <mask> family wintered in Florida, whose milder weather they believed would help <mask>'s convalescence. During that period, <mask> briefly attended Faulkner Elementary School in New Smyrna Beach, Florida.In 1952, upon returning to Canada, <mask> moved from Omemee to Pickering (1956), lived for a year in Winnipeg (where he would later return), before relocating to Toronto (1957–1960). While in Toronto, <mask> briefly attended Lawrence Park Collegiate Institute

masks:
Young
Neil Young
Young
Young
Young
Young
Young
Young
Young
Young
Neil
Young
Young
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 as a freshman in 1959. It is rumored that he was expelled for riding a motorcycle down the hall of the school. <mask> became interested in popular music he heard on the radio. When <mask> was twelve, his father, who had had several extramarital affairs, left his mother. His mother asked for a divorce, which was granted in 1960. <mask> went to live with his mother, who had moved back to Winnipeg, while his brother Bob stayed with his father in Toronto.During the mid-1950s, <mask> listened to rock 'n roll, rockabilly, doo-wop, R&B, country, and western pop. He idolized Elvis Presley and later referred to him in a number of his songs. Other early musical influences included Link Wray, Lonnie Mack, Jimmy Gilmer and the Fireballs, The Ventures, Cliff Richard and the Shadows, Chuck Berry, Hank Marvin, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, the Fleetwoods, Jerry Lee Lewis, Johnny Cash, Roy Orbison and Gogi Grant. <mask> began to play music himself on a plastic ukulele, before, as he would later relate, going on to "a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar." Career

Early career (1963–1966)

<mask> and his mother settled into the working-class area of Fort Rouge, Winnipeg, where he enrolled at Earl Grey Junior High School. It was there that he formed his first band, the Jades, and met Ken Koblun. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands, eventually dropping out of school in favor of a musical career.<mask>'s first stable band was The Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called "The Sultan". Over a

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texts: three-year period the band played hundreds of shows at community centers, dance halls, clubs and schools in Winnipeg and other parts of Manitoba. The band also played in Fort William (now part of the city of Thunder Bay, Ontario), where they recorded a series of demos produced by a local producer, Ray Dee, whom <mask> called "the original Briggs". While playing at The Flamingo, <mask> met Stephen Stills, whose band The Company was playing the same venue, and they became friends. The Squires primarily performed in Winnipeg and rural Manitoba in towns such as Selkirk, Neepawa, Brandon and Giroux (near Steinbach), with a few shows in northern Ontario. After leaving The Squires, <mask> worked folk clubs in Winnipeg, where he first met Joni Mitchell. Mitchell recalls <mask> as having been highly influenced by Bob Dylan at the time.Here he wrote some of his earliest and most enduring folk songs such as "Sugar Mountain", about lost youth. Mitchell wrote "The Circle Game" in response. The Winnipeg band The Guess Who (with Randy Bachman as lead guitarist) had a Canadian Top 40 hit with <mask>'s "Flying on the Ground is Wrong", which was <mask>'s first major success as a songwriter. In 1965, <mask> toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds. The band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Navy Reserve. After the Mynah Birds disbanded, <mask> and the bass player Bruce Palmer decided to pawn the group's musical equipment and buy a Pontiac hearse, which they used to relocate to Los Angeles.<mask> admitted in a 2009

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 interview that he was in the United States illegally until he received a "green card" (permanent residency permit) in 1970. Buffalo Springfield (1966–1968)

Once they reached Los Angeles, <mask> and Palmer met up with Stephen Stills and Richie Furay after a chance encounter in traffic on Sunset Boulevard. Along with Dewey Martin, they formed Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and <mask>, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills' topical song "For What It's Worth" became a hit, aided by <mask>'s melodic harmonics played on electric guitar. According to Rolling Stone, the Rock and Roll Hall of Fame and other sources, Buffalo Springfield helped create the genres of folk rock and country rock. Distrust of their management, as well as the arrest and deportation of Palmer, worsened the already strained relations among the group members and led to Buffalo Springfield's demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of <mask>'s three contributions were solo tracks recorded apart from the rest of the group.From that album, "Mr. Soul" was the only <mask> song of the three that all five members of the group performed together. "Broken Arrow" features snippets of sound from other sources, including opening the song with a soundbite of Dewey Martin singing "Mr. Soul" and closing it with the thumping of a heartbeat. "Expecting to Fly" featured a string arrangement that <mask>'s co-producer for the track, Jack Nitzsche, dubbed "symphonic pop". In May 1968, the band split up for

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 good, but to fulfill a contractual obligation, a final studio album, Last Time Around, was released. The album was primarily composed of recordings made earlier that year.<mask> contributed the songs "On the Way Home" and "I Am a Child", singing lead on the latter. In 1997, the band was inducted into the Rock and Roll Hall of Fame; <mask> did not appear at the ceremony. The three surviving members, Furay, Stills, and <mask>, appeared together as Buffalo Springfield at <mask>'s annual Bridge School Benefit on October 23–24, 2010, and at Bonnaroo in the summer of 2011. <mask> played as a studio session guitarist for some 1968 recordings by The Monkees which appeared on the Head and Instant Replay albums. <mask> had known Monkee Mike Nesmith since their folk shows at The Troubadour in 1965. Going solo, Crazy Horse (1968–1969)

After the breakup of Buffalo Springfield, <mask> signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts. Roberts managed <mask> until his death in 2019.<mask> and Roberts immediately began work on <mask>'s first solo record, <mask> (January 22, 1969), which received mixed reviews. In a 1970 interview, <mask> deprecated the album as being "overdubbed rather than played." The album contains songs that remain a staple of his live shows, including "The Loner." For his next album, <mask> recruited three musicians from a band called the Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969) is credited to

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 "<mask> with Crazy Horse." Recorded in just two weeks, the album includes "Cinnamon Girl", "Cowgirl in the Sand", and "Down by the River." <mask> reportedly wrote all three songs in bed on the same day while nursing a high fever of .Crosby, Stills, Nash, and Young (1969–1970)

Shortly after the release of Everybody Knows This Is Nowhere, <mask> reunited with Stephen Stills by joining Crosby, Stills & Nash, who had already released one album Crosby, Stills & Nash as a trio in May 1969. <mask> was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 Best New Artist Grammy Award – was renamed Crosby, Stills, Nash & Young. The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which <mask> skipped the majority of the acoustic set and refused to be filmed during the electric set, even telling the cameramen: "One of you fuckin' guys comes near me and I'm gonna fuckin' hit you with my guitar". During the making of their first album, Déjà Vu (March 11, 1970), the musicians frequently argued, particularly <mask> and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize <mask>, saying that he "wanted to play folk music in a rock band." Despite the tension, <mask>'s tenure with CSNY coincided with the band's most creative and successful period, and greatly contributed to his subsequent success as a solo artist. <mask> wrote "Ohio" following the Kent State massacre on May 4, 1970.The song was quickly recorded by CSNY and immediately released as a single, even though CSNY's "Teach Your

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 Children" was still climbing the singles charts. After the Gold Rush, acoustic tour and Harvest (1970–1972)
Later in the year, <mask> released his third solo album, After the Gold Rush (August 31, 1970), which featured, among others, Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. <mask> also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. <mask>'s newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including "Tell Me Why" and "Don't Let It Bring You Down"; the singles "Only Love Can Break Your Heart" and "When You Dance I Can Really Love"; and the title track, "After the Gold Rush", played on piano, with dreamlike lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. <mask>'s bitter condemnation of racism in the heavy blues-rock song "Southern Man" (along with a later song entitled "Alabama") was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry <mask> by name in the lyrics to their hit "Sweet Home Alabama." However, <mask> said he was a fan of Skynyrd's music, and the band's front man Ronnie Van Zant was later photographed wearing a Tonight's the Night T-shirt on the cover of an album.In the autumn of 1970, <mask> began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs


texts: premiered by <mask> on the tour, like "Journey through the Past", would never find a home on a studio album, while other songs, like "See the Sky About to Rain", would only be released in coming years. With CSNY splitting up and Crazy Horse having signed their own record deal, <mask>'s tour, now entitled Journey Through the Past, continued into early 1971, and its focus shifted more to newer songs he had been writing; he famously remarked that having written so many, he could not think of anything to do but play them. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto's Massey Hall, which were taped for a planned live album. The shows became legendary among <mask> fans, and the recordings were officially released nearly 40 years later as an official bootleg in <mask>'s Archive series. Near the end of his tour, <mask> performed one of the new acoustic songs on the Johnny Cash TV show. "The Needle and the Damage Done", a somber lament on the pain caused by heroin addiction, had been inspired in part by Crazy Horse member Danny Whitten, who eventually died while battling his drug problems.While in Nashville for the Cash taping, <mask> accepted the invitation of Quadrafonic Sound Studios owner Elliot Mazer to record tracks there with a group of country-music session musicians who were pulled together at the last minute. Making a connection with them, he christened them The Stray Gators, and began playing with them. Befitting the immediacy of the project, Linda Ronstadt and James Taylor were brought in from the Cash taping to do background vocals. Against the advice of his producer David Briggs, he scrapped plans


texts: for the imminent release of the live acoustic recording in favor of a studio album consisting of the Nashville sessions, electric-guitar oriented sessions recorded later in his barn, and two recordings made with the London Symphony Orchestra at Barking (credited as Barking Town Hall and now the Broadway Theatre) during March 1971. The result was <mask>'s fourth album, Harvest (February 14, 1972), which was also the best selling album of 1972 in the US. The only remnant left of the original live concept was the album's live acoustic performance of "Needle and the Damage Done." After his success with CSNY, <mask> purchased a ranch in the rural hills above Woodside and Redwood City in Northern California ("Broken Arrow Ranch", where he lived until his divorce in 2014).He wrote the song "Old Man" in honor of the land's longtime caretaker, Louis Avila. The song "A Man Needs a Maid" was inspired by his relationship with actress Carrie Snodgress. "Heart of Gold" was released as the first single from Harvest, the only No. 1 hit in his career. "Old Man" was also popular, reaching No. 31 on the Billboard Hot 100 chart, marking <mask>'s third and final appearance in the chart's Top 40 as a solo artist. The album's recording had been almost accidental.Its mainstream success caught <mask> off guard, and his first instinct was to back away from stardom. In the Decade (1977) compilation, <mask> chose to include his greatest hits from the period, but his handwritten liner notes famously described "Heart of Gold" as the song that "put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there."

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 The "Ditch" Trilogy and personal struggles (1972–1974)
Although a new tour with The Stray Gators (now augmented by Danny Whitten) had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an apparent alcohol/diazepam overdose. <mask> described the incident to Rolling Stones Cameron Crowe in 1975: "[We] were rehearsing with him and he just couldn't cut it.He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?'And he split. That night the coroner called me from L.A. and told me he'd OD'd. That blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and ...insecure." On the tour, <mask> struggled with his voice and the performance of drummer Kenny Buttrey, a noted Nashville session musician who was unaccustomed to performing in the hard rock milieu; Buttrey was eventually replaced by former CSNY drummer Johnny Barbata, while David Crosby and Graham Nash contributed rhythm guitar and backing vocals to the final dates of the tour. The album assembled in the aftermath of this incident, Time Fades Away (October 15, 1973), has often been described by <mask> as "[his] least favorite record", and was not officially released on CD until 2017 (as part of <mask>'s Official Release Series). Nevertheless, <mask> and his band tried


texts: several new musical approaches in this period. Time Fades Away, for instance, was recorded live, although it was an album of new material, an approach <mask> would repeat with more success later on. Time was the first of three consecutive commercial failures which would later become known collectively to fans as the "Ditch Trilogy", as contrasted with the more middle-of-the-road pop of Harvest. These subsequent albums were seen as more challenging expressions of <mask>'s inner conflicts on achieving success, expressing both the specific struggles of his friends and himself, and the decaying idealism of his generation in America at the time.In the second half of 1973, <mask> formed The Santa Monica Flyers, with Crazy Horse's rhythm section augmented by Nils Lofgren on guitar and piano and Harvest/Time Fades Away veteran Ben Keith on pedal steel guitar. Deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, <mask> recorded an album specifically inspired by the incidents, Tonight's the Night (June 20, 1975). The album's dark tone and rawness led Reprise to delay its release and <mask> had to pressure them for two years before they would do so. While his record company was stalling, <mask> recorded another album, On the Beach (July 16, 1974), which presented a more melodic, acoustic sound at times, including a recording of the older song "See the Sky About to Rain", but dealt with similarly dark themes such as the collapse of 1960s folk ideals, the downside of success and the underbelly of the Californian lifestyle. Like Time Fades Away, it sold poorly but eventually became a critical favorite, presenting some of <mask>'s most original work. A


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 review of the 2003 re-release on CD of On the Beach described the music as "mesmerizing, harrowing, lucid, and bleary". After completing On the Beach, <mask> reunited with Harvest producer Elliot Mazer to record another acoustic album, Homegrown.Most of the songs were written after <mask>'s breakup with Carrie Snodgress, and thus the tone of the album was somewhat dark. Though Homegrown was reportedly entirely complete, <mask> decided, not for the first or last time in his career, to drop it and release something else instead, in this case, Tonight's the Night, at the suggestion of Band bassist Rick Danko. <mask> further explained his move by saying: "It was a little too personal ... it scared me". Most of the songs from Homegrown were later incorporated into other <mask> albums while the original album was not released until 2020. Tonight's the Night, when finally released in 1975, sold poorly, as had the previous albums of the "ditch" trilogy, and received mixed reviews at the time, but is now regarded as a landmark album. In <mask>'s own opinion, it was the closest he ever came to art. Reunions, retrospectives and Rust Never Sleeps (1974–1979)
<mask> reunited with Crosby, Stills, and Nash after a four-year hiatus in the summer of 1974 for a concert tour which was partially recorded; highlights were ultimately released in 2014 as CSNY 1974.It was one of the first ever stadium tours, and the largest tour in which <mask> has participated to date. In 1975, <mask> reformed Crazy Horse with Frank Sampedro on guitar as his backup band for his eighth album, Zuma (November 10, 1975). Many of the songs dealt with the theme of failed relationships; "Cortez the Killer", a


texts: retelling of the Spanish conquest of Mexico from the viewpoint of the Aztecs, may also be heard as an allegory of love lost. Zumas closing track, "Through My Sails", was the only released fragment from aborted sessions with Crosby, Stills and Nash for another group album. In 1976, <mask> reunited with Stephen Stills for the album Long May You Run (September 20, 1976), credited to The Stills-Young Band; the follow-up tour was ended midway through by <mask>, who sent Stills a telegram that read: "Funny how some things that start spontaneously end that way. Eat a peach, <mask>." In 1976, <mask> performed with Bob Dylan, Joni Mitchell, and numerous other rock musicians in the high-profile all-star concert The Last Waltz, the final performance by The Band.The release of Martin Scorsese's movie of the concert was delayed while Scorsese unwillingly re-edited it to obscure the lump of cocaine that was clearly visible hanging from <mask>'s nose during his performance of "Helpless". American Stars 'n Bars (June 13, 1977) contained two songs originally recorded for the Homegrown album, "Homegrown" and "Star of Bethlehem", as well as newer material, including the future concert staple "Like a Hurricane". Performers on the record included Linda Ronstadt, Emmylou Harris and <mask> protégé Nicolette Larson along with Crazy Horse. In 1977, <mask> also released the compilation Decade, a personally selected set of songs spanning every aspect of his work, including a handful of previously unreleased songs. The record included less commercial album tracks alongside radio hits. Comes a Time (October 2, 1978), <mask>'s first entirely new solo recording since the mid-1970s, marked a return

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texts: to the commercially accessible, Nashville-inspired sound of Harvest while also featuring contributions from Larson and Crazy Horse. The album also marked a return to his folk roots, as exemplified by a cover of Ian Tyson's "Four Strong Winds", a song <mask> associated with his childhood in Canada.Another of the album's songs, "Lotta Love", was also recorded by Larson, with her version reaching No. 8 on the Billboard Hot 100 in February 1979. In 1978, much of the filming was done for <mask>'s film Human Highway, which took its name from a song featured on Comes a Time. Over four years, <mask> would spend US$3,000,000 of his own money on production (US$ in  dollars). This also marked the beginning of his brief collaboration with the art punk band Devo, whose members appeared in the film. <mask> set out in 1978 on the lengthy Rust Never Sleeps tour, in which he played a wealth of new material. Each concert was divided into a solo acoustic set and an electric set with Crazy Horse.The electric sets, featuring an abrasive style of playing, were influenced by the punk rock zeitgeist of the late 1970s and provided a stark contrast from Comes a Time. Two new songs, the acoustic "My My, Hey Hey (Out of the Blue)" and electric "Hey Hey, My My (Into the Black)" were the centerpiece of the new material. During the filming of Human Highway, <mask> had collaborated with Devo on a cacophonous version of "Hey Hey, My My" at the Different Fur studio in San Francisco and would later introduce the song to Crazy Horse. The lyric "It's better to burn out than to fade away" was widely quoted by his peers and by critics. The album has also widely been considered a precursor of grunge music


texts: and many grunge artists have said they were inspired by <mask>'s distorted guitars on the B side to this album. <mask> also compared the rise of Johnny Rotten with that of the recently deceased "King" Elvis Presley, who himself had once been disparaged as a dangerous influence only to later become an icon. Rotten returned the favor by playing one of <mask>'s songs, "Revolution Blues" from On the Beach, on a London radio show, an early sign of <mask>'s eventual embrace by a number of punk-influenced alternative musicians.<mask>'s two accompanying albums Rust Never Sleeps (July 2, 1979; new material culled from live recordings, but featuring studio overdubs) and Live Rust (November 19, 1979; a genuine concert recording featuring old and new material) captured the two sides of the concerts, with solo acoustic songs on side A, and fierce, uptempo, electric songs on side B. A movie version of the concerts, also called Rust Never Sleeps (1979), was directed by <mask> under the pseudonym "Bernard Shakey". <mask> worked with rock artist Jim Evans to create the poster art for the film, using the Star Wars Jawas as a theme. <mask>'s work since Harvest had alternated between being rejected by mass audiences and being seen as backward-looking by critics, sometimes both at once, and now he was suddenly viewed as relevant by a new generation, who began to discover his earlier work. Readers and critics of Rolling Stone voted him Artist of the Year for 1979 (along with The Who), selected Rust Never Sleeps as Album of the Year, and voted him Male Vocalist of the Year as well. The Village Voice named Rust Never Sleeps as the year's second best album in the Pazz & Jop Poll, a survey of

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 nationwide critics, and honored <mask> as the Artist of the Decade. The Warner Music Vision release on VHS of Rust Never Sleeps in 1987 had a running time of 116 minutes, and although fully manufactured in Germany, was initially imported from there by the markets throughout Europe.Experimental years (1980–1988)
At the start of the 1980s, distracted by medical concerns relating to the cerebral palsy of his son, Ben, <mask> had little time to spend on writing and recording. After providing the incidental music to the 1980 film Where the Buffalo Roam, <mask> released Hawks & Doves (November 3, 1980), a short record pieced together from sessions going back to 1974. Re·ac·tor (1981), an electric album recorded with Crazy Horse, also included material from the 1970s. <mask> did not tour in support of either album; in total, he played only one show, a set at the 1980 Bread and Roses Festival in Berkeley, between the end of his 1978 tour with Crazy Horse and the start of his tour with the Trans Band in mid-1982. The 1982 album Trans, which incorporated vocoders, synthesizers, and electronic beats, was <mask>'s first for the new label Geffen Records (distributed at the time by Warner Bros. Records, whose parent Warner Music Group owns most of <mask>'s solo and band catalog) and represented a distinct stylistic departure. <mask> later revealed that an inspiration for the album was the theme of technology and communication with Ben, who could not speak. An extensive tour preceded the release of the album, and was documented by the video <mask> in Berlin, which saw release in 1986.MTV played the video for "Sample and Hold" in light rotation. <mask>'s next album, 1983's

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texts: Everybody's Rockin', included several rockabilly covers and clocked in at less than 25 minutes in length. <mask> was backed by the Shocking Pinks for the supporting US tour. Trans (1982) had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody's Rockin following seven months later, Geffen Records sued <mask> for making music "unrepresentative" of himself. The album was also notable as the first for which <mask> made commercial music videos – Tim Pope directed the videos for "Wonderin'" and "Cry, Cry, Cry". Also premiered in 1983, though little seen, was the long-gestating Human Highway. Co-directed and co-written by <mask>, the eclectic comedy starred <mask>, Dean Stockwell, Russ Tamblyn, Dennis Hopper, David Blue, Sally Kirkland, Charlotte Stewart and members of Devo.<mask> did not release an album in 1984, his first unproductive year since beginning his career with Buffalo Springfield in 1966. <mask>'s lack of productivity was largely due to the ongoing legal battle with Geffen, although he was also frustrated that the label had rejected his 1982 country album Old Ways. It was also the year when <mask>'s third child was born, a girl named Amber Jean, who was later diagnosed with inherited epilepsy. <mask> spent most of 1984 and all of 1985 touring for Old Ways (August 12, 1985) with his country band, the International Harvesters. The album was finally released in an altered form midway through 1985. <mask> also appeared at that year's Live Aid concert in Philadelphia, collaborating with Crosby, Stills and Nash for the quartet's first performance for a paying audience in over ten years. <mask>'s last two albums for

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texts: Geffen were more conventional in the genre, although they incorporated production techniques like synthesizers and echoing drums that were previously uncommon in <mask>'s music.<mask> recorded 1986's Landing on Water without Crazy Horse but reunited with the band for the subsequent year-long tour and final Geffen album, Life, which emerged in 1987. <mask>'s album sales dwindled steadily throughout the eighties; today Life remains his all-time-least successful studio album, with an estimated four hundred thousand sales worldwide. Switching back to his old label Reprise Records, <mask> continued to tour relentlessly, assembling a new blues band called The Bluenotes in mid-1987 (a legal dispute with musician Harold Melvin forced the eventual rechristening of the band as Ten Men Working midway through the tour). The addition of a brass section provided a new jazzier sound, and the title track of 1988's This Note's For You became <mask>'s first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. <mask> wrote an open letter, "What does the M in MTV stand for: music or money?" Despite this, the video was eventually named best video of the year by the network in 1989.<mask> reunited with Crosby, Stills, and Nash to record the 1988 album American Dream and play two benefit concerts late in the year, but the group did not embark upon a full tour. <mask> attracted criticism from liberals in the music industry when he supported President Ronald Reagan, and said: "I'm tired of people constantly


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 apologising for being Americans." In a 1985 interview with Melody Maker, he said about the AIDS pandemic: “You go to a supermarket and you see a faggot behind the fuckin' cash register, you don't want him to handle your potatoes." Rolling Stone wrote in 2013 that "<mask> almost certainly regrets that horrific statement and quickly moved away from right-wing politics". In the same interview, <mask> also complained about welfare beneficiaries, saying: "Stop being supported by the government and get out and work. You have to make the weak stand up on one leg, or half a leg, whatever they've got." Return to prominence (1989–1999)

<mask>'s 1989 single "Rockin' in the Free World", which hit No.2 on the US mainstream-rock charts, and accompanying the album, Freedom, returned <mask> to the popular consciousness after a decade of sometimes-difficult genre experiments. The album's lyrics were often overtly political; "Rockin' in the Free World" deals with homelessness, terrorism, and environmental degradation, implicitly criticizing the government policies of President George H.W. Bush. The use of heavy feedback and distortion on several Freedom tracks was reminiscent of the Rust Never Sleeps (1979) album and foreshadowed the imminent rise of grunge. The rising stars of the subgenre, including Nirvana's Kurt Cobain and Pearl Jam's Eddie Vedder, frequently cited <mask> as a major influence, contributing to his popular revival. A tribute album called The Bridge: A Tribute to <mask> was released in 1989, featuring covers by a range of alternative and grunge acts, including Sonic Youth, Nick Cave, Soul Asylum, Dinosaur Jr, and the Pixies. <mask>'s 1990 album Ragged Glory,

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