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Paul Myron Anthony Linebarger (July 11, 1913 – August 6, 1966), better known by his pen-name <mask>, was an American author known for his science fiction works. Linebarger was a US Army officer, a noted East Asia scholar, and an expert in psychological warfare. Although his career as a writer was shortened by his death at the age of 53, he is considered one of the more talented and influential science fiction authors. Early life and education
Linebarger's father, Paul Myron Wentworth Linebarger, was a lawyer and political activist, an advisor to Sun Yat-sen, and had close ties to the leaders of the Chinese revolution of 1911. In order for Linebarger to be eligible to become president of the United States, his father sent Linebarger's mother to Milwaukee, Wisconsin, to give birth to him there. Linebarger's godfather was Sun Yat-sen, who was considered the father of Chinese nationalism. His young life  was unsettled as his father moved the family to a succession of places in Asia, Europe, and the United States.He was sometimes sent to boarding schools for safety. In all, Linebarger attended more than 30 schools. In 1919, while at a boarding school in Hawaii, he was blinded in his right eye and it was replaced by a glass eye. The vision in his remaining eye was impaired by infection. Linebarger was familiar with English, German, and Chinese by adulthood. At the age of 23, he received a PhD in political science from Johns Hopkins University. Career

From 1937 to 1946, Linebarger held a faculty appointment at Duke University, where he began producing highly regarded works on Far Eastern affairs.While retaining his professorship at Duke after the beginning of World War II, Linebarger began serving as a second lieutenant of the United States Army, where he was involved in the creation of the Office of War Information and the Operation Planning and Intelligence Board. He also helped organize the army's first psychological warfare section. In 1943, he was sent to China to coordinate military intelligence operations. When he later pursued his interest in China, Linebarger became a close confidant of Chiang Kai-shek. By the end of the war, he had risen to the rank of major. In 1947, Linebarger moved to the Johns Hopkins University's School of Advanced International Studies in Washington, DC, where he served as Professor of Asiatic Studies. He used his experiences in the war to write the book Psychological Warfare (1948), regarded by many in the field as a classic text.He eventually rose to the rank of colonel in the reserves. He was recalled to advise the British forces in the Malayan Emergency and the U.S. Eighth Army in the Korean War. While he was known to call himself a "visitor to small wars", he refrained from becoming involved in the Vietnam War, but is known to have done work for the Central Intelligence Agency. In 1969 CIA officer Miles Copeland Jr. wrote that Linebarger was "perhaps the leader practitioner of 'black' and 'gray' propaganda in the Western world". According to Joseph Burkholder <mask>, a former CIA operative, he conducted classes in psychological warfare for CIA agents at his home in Washington under cover of his position at the School of Advanced International Studies. He traveled extensively and became a member of the Foreign Policy Association, and was called upon to advise President John F. Kennedy. Marriage and family

In 1936, Linebarger married Margaret Snow.They had a daughter in 1942 and another in 1947. They divorced in 1949. In 1950, Linebarger married again to Genevieve Collins; they had no children. They remained married until his death from a heart attack in 1966, at Johns Hopkins University Medical Center in Baltimore, Maryland, at age 53. Linebarger had expressed a wish to retire to Australia, which he had visited in his travels. He is buried in Arlington National Cemetery, Section 35, Grave Number 4712. His widow, Genevieve Collins Linebarger, was interred with him on November 16, 1981.Case history debate
Linebarger is long rumored to have been "Kirk Allen", the fantasy-haunted subject of "The Jet-Propelled Couch," a chapter in psychologist Robert M. Lindner's best-selling 1954 collection The Fifty-Minute Hour. According to Cordwainer Smith scholar Alan C. Elms, this speculation first reached print in Brian Aldiss's 1973 history of science fiction, Billion Year Spree; Aldiss, in turn, claimed to have received the information from science fiction fan and scholar Leon Stover. More recently, both Elms and librarian Lee Weinstein have gathered circumstantial evidence to support the case for Linebarger's being Allen, but both concede there is no direct proof that Linebarger was ever a patient of Lindner's or that he suffered from a disorder similar to that of Kirk Allen. Science fiction style
According to Frederik Pohl

Linebarger's identity as "Cordwainer <mask>" was secret until his death. ("Cordwainer" is an archaic word for "a worker in cordwain or cordovan leather; a shoemaker", and a "smith" is "one who works in iron or other metals; esp. a blacksmith or farrier": two kinds of skilled workers with traditional materials.) Linebarger also employed the literary pseudonyms "<mask>" (for his political thriller Atomsk), "Anthony Bearden" (for his poetry) and "Felix C. Forrest" (for the novels Ria and Carola).<mask>'s stories are unusual, sometimes being written in narrative styles closer to traditional Chinese stories than to most English-language fiction, as well as reminiscent of the Genji tales of Lady Murasaki. The total volume of his science fiction output is relatively small, because of his time-consuming profession and his early death. <mask>'s works consist of one novel, originally published in two volumes in edited form as The Planet Buyer, also known as The Boy Who Bought Old Earth (1964) and The Underpeople (1968), and later restored to its original form as Norstrilia (1975); and 32 short stories (collected in The Rediscovery of Man (1993), including two versions of the short story "War No. 81-Q"). Linebarger's cultural links to China are partially expressed in the pseudonym "Felix C. Forrest", which he used in addition to "Cordwainer <mask>": his godfather Sun Yat-Sen suggested to Linebarger that he adopt the Chinese name "Lin Bai-lo" (), which may be roughly translated as "Forest of Incandescent Bliss". ("Felix" is Latin for "happy".) In his later years, Linebarger proudly wore a tie with the Chinese characters for this name embroidered on it.As an expert in psychological warfare, Linebarger was very interested in the newly developing fields of psychology and psychiatry. He used many of their concepts in his fiction. His fiction often has religious overtones or motifs, particularly evident in characters who have no control over their actions. James B. Jordan argued for the importance of Anglicanism to <mask>'s works back to 1949. But Linebarger's daughter Rosana Hart has indicated that he did not become an Anglican until 1950, and was not strongly interested in religion until later still. The introduction to the collection Rediscovery of Man notes that from around 1960 Linebarger became more devout and expressed this in his writing. Linebarger's works are sometimes included in analyses of Christianity in fiction, along with the works of authors such as C. S. Lewis and J.R.R.Tolkien. Most of <mask>'s stories are set in the far future, between 4,000 and 14,000 years from now. After the Ancient Wars devastate Earth, humans, ruled by the Instrumentality of Mankind, rebuild and expand to the stars in the Second Age of Space around 6000 AD. Over the next few thousand years, mankind spreads to thousands of worlds and human life becomes safe but sterile, as robots and the animal-derived Underpeople take over many human jobs and humans themselves are genetically programmed as embryos for specified duties. Towards the end of this period, the Instrumentality attempts to revive old cultures and languages in a process known as the Rediscovery of Man, where humans emerges from their mundane utopia and Underpeople are freed from slavery. For years, Linebarger had a pocket notebook which he had filled with ideas about The Instrumentality and additional stories in the series. But while in a small boat in a lake or bay in the mid 60s, he leaned over the side, and his notebook fell out of his breast pocket into the water, where it was lost forever.Another story claims that he accidentally left the notebook in a restaurant in Rhodes in 1965. With the book gone, he felt empty of ideas, and decided to start a new series which was an allegory of Mid-Eastern politics. <mask>'s stories describe a long future history of Earth. The settings range from a postapocalyptic landscape with walled cities, defended by agents of the Instrumentality, to a state of sterile utopia, in which freedom can be found only deep below the surface, in long-forgotten and buried anthropogenic strata. These features may place <mask>'s works within the Dying Earth subgenre of science fiction. They are ultimately more optimistic and distinctive. <mask>'s most celebrated short story is his first-published, "Scanners Live in Vain", which led many of its earliest readers to assume that "Cordwainer Smith" was a new pen name for one of the established giants of the genre.It was selected as one of the best science fiction short stories of the pre-Nebula Award period by the Science Fiction and Fantasy Writers of America, appearing in The Science Fiction Hall of Fame Volume One, 1929-1964. "The Ballad of Lost C'Mell" was similarly honored, appearing in The Science Fiction Hall of Fame, Volume Two. After "Scanners Live in Vain", <mask>'s next story did not appear for several years, but from 1955 until his death in 1966 his stories appeared regularly, for the most part in Galaxy Science Fiction. His universe featured strange and vivid creations, such as:
 The planet Norstrilia (Old North Australia), a semi-arid planet where an immortality drug called stroon is harvested from gigantic, virus-infected sheep each weighing more than 100 tons. Norstrilians are nominally the richest people in the galaxy and defend their immensely valuable stroon with sophisticated weapons (as shown in the story "Mother Hitton's Littul Kittons"). However, extremely high taxes ensure that everyone on the planet lives a frugal, rural life, like the farmers of old Australia, to keep the Norstrilians tough. The punishment world Shayol (cf.Sheol), where criminals are punished by the regrowth and harvesting of their organs for transplanting
 Planoforming spacecraft, which are crewed by humans telepathically linked with cats to defend against the attacks of malevolent entities in space, which are perceived by the humans as dragons, and by the cats as gigantic rats, in "The Game of Rat and Dragon". The Underpeople, animals modified into human form and intelligence to fulfill servile roles, and treated as property. Several stories feature clandestine efforts to liberate the Underpeople and grant them civil rights. They are seen everywhere throughout regions controlled by the Instrumentality. Names of Underpeople have a single-letter prefix based on their animal species. Thus C'Mell ("The Ballad of Lost C'Mell") is cat-derived; D'Joan ("The Dead Lady of Clown Town"), a Joan of Arc figure, is descended from dogs; and B'dikkat ("A Planet Named Shayol") has bovine ancestors. Habermans and their supervisors, Scanners, who are essential for space travel, but at the cost of having their sensory nerves cut to block the "pain of space", and who perceive only by vision and various life-support implants.A technological breakthrough removes the need for the treatment, but resistance among the Scanners to their perceived loss of status ensues, forming the basis of the story "Scanners Live in Vain". Early works in the timeline include neologisms which are not explained to any great extent, but serve to produce an atmosphere of strangeness. These words are usually derived from non-English words. For instance, manshonyagger derives from the German words "menschen" meaning, in some senses, "men" or "mankind", and "jäger", meaning a hunter, and refers to war machines that roam the wild lands between the walled cities and prey on men, except for those they can identify as Germans. Another example is "Meeya Meefla", the only city to have preserved its name from the pre-atomic era: evidently Miami, Florida, from its abbreviated form (as on road signs) "MIAMI FLA". Character names in the stories often derive from words in languages other than English. <mask> seemed particularly fond of using numbers for this purpose.For instance, the name "Lord Sto Odin" in the story "Under Old Earth" is derived from the Russian words for "One hundred and one", сто один; it also suggests the name of the Norse god Odin. Quite a few of the names mean "five-six" in different languages, including both the robot Fisi (fi[ve]-si[x]), the dead Lady Panc Ashash (in Sanskrit "pañcha" [पञ्च] is "five" and "ṣaṣ" [षष्] is "six"), Limaono (lima-ono, Hawaiian and/or Fijian), Englok (ng5-luk6 [五-六], in Cantonese), Goroke (go-roku [五-六], Japanese) and Femtiosex ("fifty-six" in Swedish) in "The Dead Lady of Clown Town" as well as the main character in "Think Blue, Count Two", Veesey-koosey, which is an English transcription of the Finnish words "viisi" (five) and "kuusi" (six). Four of the characters in "Think Blue, Count Two" are called "Thirteen" in different languages: Tiga-belas (both in Indonesian and Malay), Trece (Spanish), Talatashar (based on an Arabic dialect form ثلاث عشر, thalāth ʿashar) and Sh'san (based on Mandarin 十三, shísān, where the "í" is never pronounced). Other names, notably that of Lord Jestocost (Russian Жестокость, Cruelty), are non-English but not numbers. Remnants of modern culture accordingly appear as valued antiquities or sometimes just as unrecognized survivals, lending a rare feeling of nostalgia for the present to the stories. Published non-fiction
 1937, The Political Doctrines of Sun Yat-Sen: An Exposition of the San Min Chu I, Baltimore: The Johns Hopkins Press
 1938, Government in Republican China, London: McGraw-Hill,
 1941, The China of Chiang K'ai-shek: A Political Study, Boston: World Peace Foundation,
 1948, Psychological Warfare, Washington: Infantry Journal Press; revised second edition, 1954, New York: Duell, Sloan and Pearce (available online)
 1951, Foreign milieux (HBM 200/1), Dept. of Defense, Research and Development Board
 1951, Immediate improvement of theater-level psychological warfare in the Far East, Operations Research Office, Johns Hopkins University
 1954, Far Eastern Government and Politics: China and Japan (with Djang Chu and Ardath W. Burks), Van Nostrand
 1956, "Draft statement of a ten-year China and Indochina policy, 1956–1966", Foreign Policy Research Institute, University of Pennsylvania
 1965, Essays on military psychological operations, Special Operations Research Office, American University

Unpublished novels
1939 (rewritten in 1947) General Death
1946 Journey in Search of a Destination
1947-1948 The Dead Can Bite (a.k.a.Sarmantia)

Published fiction

Short stories
Titles marked with an asterisk * are independent stories not related to the Instrumentality universe. "War No. 81-Q" (original version, June 1928) *
"Scanners Live in Vain" (June 1950)
"The Game of Rat and Dragon" (October 1955)
"Mark Elf" (May 1957)
"The Burning of the Brain" (October 1958)
"Western Science Is So Wonderful" (December 1958) *
"No, No, Not Rogov!" (February 1959)
"Nancy" (March 1959) *
"When the People Fell" (April 1959)
"Golden the Ship Was—Oh! Oh! Oh!"

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<mask> (August 15, 1910 – July 24, 1969), was an American-born middleweight boxer who fought professionally from 1931 to 1944, compiling a record of 131 wins (23 by knockout), 18 losses, and 9 draws. He took the World middleweight championship as recognized by the New York State Athletic Commission in a win against Ceferino Garcia in New York on May 23, 1940, and held it until May 9, 1941. <mask> was inducted into the International Boxing Hall of Fame as part of the 2015 class. Early life and career
<mask> was born to Irish parents on August 15, 1910 in Decatur, Illinois. He excelled in basketball and football at Decatur's Central Junior High. While at Decatur Senior High, he worked as a bellhop, then joined the Navy in 1927, and soon began boxing, having many of his early bouts in cities where his ship the U.S.S. Tennessee was stationed.He would do most of his boxing from 1927-31 on the West coast, but his Navy and boxing career would later be based out of Norfolk, and nearby Portsmouth, Virginia. He dropped out of the Navy in 1932, and began his boxing career under the management of Chris Dundee as a fringe middleweight contender, continuing to box around Virginia and the East Coast. In an impressive but close win, he defeated middleweight contender and future champion Fred Apostoli in New York City's Hippodrome in a ten round mixed decision on January 27, 1937. Apostoli began the fight as a 2-1 favorite, but was unable to stop the long thrusting lefts that <mask> sent to his face throughout the bout. The AP score sheet gave Apostoli a slight edge, but two of the judges present at the bout gave <mask> eight of the ten rounds, giving a slight edge to <mask> in three rounds that the referee scored even. In the first five rounds, <mask> took a slight lead showing greater speed and mobility, and displaying greater defensive skills than his older opponent. But he was faulted by many in the crowd for his occasional holds, which he would resort to again when threatened by a highly skilled adversary.A middleweight contender by the mid-to-late 1930s, he received his first title shot on September 11, 1937 when he was knocked out in the 4th round of a match against reigning World middleweight champion Freddie Steele in Seattle. <mask> would learn from the experience, and Steele would become the only boxer to ever defeat him by knockout. <mask> lost to former World Middleweight champion Teddy Yarosz on March 27, 1939 in a ten round points decision in Houston, breaking an eleven match winning streak that included a single loss to Eric Seelig. NYSAC World middleweight champ, 1940
<mask> would win recognition as a World middleweight champion by the New York State Athletic Commission on May 23, 1940, when he won a unanimous decision over Ceferino Garcia before a light crowd of 7,587 at Madison Square Garden. <mask>'s fast, sweeping left hook to the body tied up Garcia's dangerous right. The young challenger to the title took significant punishment in the fifth and sixth rounds, and in the seventh, Ceferino landed a near knockout punch to his right ear. The former Navy boxer persevered, recovering with a left to the body and right to the head of Ceferino.With <mask> dictating the fighting style and avoiding his opponent's deadly right, the judges credited Garcia with no more than six rounds and gave <mask> as many as ten in their scoring. Loss of Middle title to Billy Soose

<mask> would successfully defend his title twice against Steve Belloise, before losing it to Billy Soose on May 9, 1941 in a fifteen round Unanimous Decision before 11,676 fans at New York's Madison Square Garden. The New York Times wrote that <mask> appeared to have the upperhand in eleven of the fifteen rounds, but that <mask> probably lost points from holding at critical times in the fight to avoid blows. A supporter of the close decision for Soose, the Dunkirk Evening Observer wrote that in the ninth Soose had <mask> nearly floored with a blow to the heart, but that <mask> wisely clinched to avoid a follow up. The Observer also noted that in the tenth Soose shook <mask> again with a right, but by quickly countering, the reigning champion kept his opponent from a quick follow up that might have ended the match. The crowd booed the decision once they realized <mask> had lost the title to a twenty-three year old relatively unknown, and unrated opponent. In the close decision, one judge and one referee scored 8 rounds for Soose with seven for <mask>, though the remaining judge gave nine rounds, a slightly larger edge, to Soose.The bout was described as somewhat dull, with frequent missed blows, no knockdowns, and both boxers leaving the ring appearing relatively unscathed and unbleeding. <mask> continued fighting without a loss until 1945, scoring notable wins over Ezzard Charles and Al Hostak, before his retirement. Before a crowd of 8,000, <mask> defeated former NBA Middleweight champion Al Hostak on November 21, 1941 in a ten round unanimous decision at Madison Square Garden. Hostak threw as many as forty rights at <mask>, but nearly all whizzed past his left cheek, as <mask> dominated the last two minutes of nearly every round, taking nearly all but one round of the fight in a unanimous decision. His win over Charles came in a ten round unanimous decision on June 9, 1941, in Cincinnati, only one month after his loss of the World middleweight title. Charles best round was the sixth, where he tagged <mask> several times with a two handed attack. Though there were no knockdowns in the bout, Charles was on his knees briefly in the second round.Charles, who had not been defeated in his last 23 bouts, fought a very close match for the first six rounds, but <mask> dominated in the final four landing solid blows, particularly in rounds eight through ten as Charles became careless hoping to makeup for lost ground. <mask> drew with Fred Apostoli on June 26 1942 in a close ten round draw before 7,000 fans at Norfolk's Naval base. <mask> piled up points with his signature left jab, though Apostoli, with effective punching, had <mask> in a bad condition in the seventh. Apostoli showed more aggression in the bout, tried hard for a knockout in the closing rounds, and left the ring seemingly unmarked. Life outside boxing
Interrupting his boxing career, <mask> rejoined the Navy in 1942 to serve during WWII, then in 1944, after completing his wartime service, he fought four additional fights. He fought his last recorded bout on September 26, 1944, against RJ Lewis in Denver, Colorado, winning in a ten round decision. He then returned to his hometown of Decatur, Illinois, where he ran a Tavern on East Main Street.After having to sell his Main Street Tavern in 1947 by order of the Mayor due to frequent disturbances, he operated another Tavern in Springfield. He left the Springfield bar in 1955, shortly before losing his license for serving liquor to minors. He then left Illinois, to run a bar in Vallejo, California, outside San Francisco, near the Mare Island Naval Shipyard. After 1957, he lived in Reno, Nevada, where he worked as a bartender. He had been in ill health for the last seven years of his life as a result of an assault by a hoodlum who had pistol whipped him in May, 1962 after he had struck the man in an argument. He was required to undergo emergency surgery for skull fractures and severe scalp lacerations. Seven years after the assault, on July 24, 1969, <mask> was found dead in his Reno apartment, where he had passed a few days earlier.Professional boxing record

References

External links

1910 births
1969 deaths
Middleweight boxers
World middleweight boxing champions
Irish boxers
American male boxers
Boxers from Illinois
Sportspeople from Illinois

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Ken Overlin
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Tiziano Vecelli or Vecellio (; 27 August 1576), known in English as <mask> ( ), was an Italian (Venetian) painter during the Renaissance, considered the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region. Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the final line of Dante's Paradiso), <mask> was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, exercised a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western art. His career was successful from the start, and he became sought after by patrons, initially from Venice and its possessions, then joined by the north Italian princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian School of Italian Renaissance painting.During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone were without precedent in the history of Western painting. Biography

Early years

The exact time or date of Titian's birth is uncertain. When he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482. Most modern scholars believe a date between 1488 and 1490 is more likely, though his age at death being 99 had been accepted into the 20th century. He was the son of Gregorio Vecellio and his wife Lucia, of whom little is known.Gregorio was superintendent of the castle of Pieve di Cadore and managed local mines for their owners. Gregorio was also a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, and the family were well-established in the area, which was ruled by Venice. At the age of about ten to twelve <mask> and his brother Francesco (who perhaps followed later) were sent to an uncle in Venice to find an apprenticeship with a painter. The minor painter Sebastian Zuccato, whose sons became well-known mosaicists, and who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they later transferred to that of his brother Giovanni Bellini. At that time the Bellinis, especially Giovanni, were the leading artists in the city. There Titian found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, and Giorgio da Castelfranco, nicknamed Giorgione.Francesco Vecellio, Titian's older brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth (from the convent of Sant'Andrea), now in the Accademia, Venice. A Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo. Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics already found Titian's work more impressive—for example, in exterior frescoes (now almost totally destroyed) that they collaborated on for the Fondaco dei Tedeschi (state-warehouse for the German merchants).Their relationship evidently contained a significant element of rivalry. Distinguishing between their work during this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. The two young masters were likewise recognized as the leaders of their new school of arte moderna, which is characterized by paintings made more flexible, freed from symmetry and the remnants of hieratic conventions still found in the works of Giovanni Bellini. In 1507–1508, Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi. <mask> and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione.Some of their work is known, in part, through the engravings of Fontana. After Giorgione's early death in 1510, Titian continued to paint Giorgionesque subjects for some time, though his style developed its own features, including bold and expressive brushwork. Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, and three scenes (Miracoli di sant'Antonio) from the life of St. Anthony of Padua, The Miracle of the Jealous Husband, which depicts the Murder of a Young Woman by Her Husband, A Child Testifying to Its Mother's Innocence, and The Saint Healing the Young Man with a Broken Limb. In 1512 Titian returned to Venice from Padua; in 1513 he obtained La Senseria (a profitable privilege much coveted by artists) in the Fondaco dei Tedeschi. He became superintendent of the government works, especially charged with completing the paintings left unfinished by Giovanni Bellini in the hall of the great council in the ducal palace. He set up an atelier on the Grand Canal at S. Samuele, the precise site being now unknown. It was not until 1516, after the death of Giovanni Bellini, that he came into actual enjoyment of his patent.At the same time he entered an exclusive arrangement for painting. The patent yielded him a good annuity of 20 crowns and exempted him from certain taxes. In return, he was bound to paint likenesses of the successive Doges of his time at the fixed price of eight crowns each. The actual number he painted was five. Growth

During this period (1516–1530), which may be called the period of his mastery and maturity, the artist moved on from his early Giorgionesque style, undertook larger, more complex subjects, and for the first time attempted a monumental style. Giorgione died in 1510 and Giovanni Bellini in 1516, leaving Titian unrivaled in the Venetian School. For sixty years he was the undisputed master of Venetian painting.In 1516, he completed his famous masterpiece, the Assumption of the Virgin, for the high altar of the Basilica di Santa Maria Gloriosa dei Frari, where it is still in situ. This piece of colourism, executed on a grand scale rarely before seen in Italy, created a sensation. The Signoria took note and observed that <mask> was neglecting his work in the hall of the great council, but in 1516 he succeeded his master Giovanni Bellini in receiving a pension from the Senate. The pictorial structure of the Assumption—that of uniting in the same composition two or three scenes superimposed on different levels, earth and heaven, the temporal and the infinite—was continued in a series of works such as the retable of San Domenico at Ancona (1520), the retable of Brescia (1522), and the retable of San Niccolò (1523), in the Vatican Museums, each time attaining to a higher and more perfect conception. He finally reached a classic formula in the Pesaro Madonna, better known as the Madonna di Ca' Pesaro (c. 1519–1526), also for the Frari church. This is perhaps his most studied work, whose patiently developed plan is set forth with supreme display of order and freedom, originality and style. Here Titian gave a new conception of the traditional groups of donors and holy persons moving in aerial space, the plans and different degrees set in an architectural framework.<mask> was then at the height of his fame, and towards 1521, following the production of a figure of St. Sebastian for the papal legate in Brescia (of which there are numerous replicas), purchasers pressed for his work. To this period belongs a more extraordinary work, The Death of St. Peter Martyr (1530), formerly in the Dominican Church of San Zanipolo, and destroyed by an Austrian shell in 1867. Only copies and engravings of this proto-Baroque picture remain. It combined extreme violence and a landscape, mostly consisting of a great tree, that pressed into the scene and seems to accentuate the drama in a way that looks forward to the Baroque. The artist simultaneously continued a series of small Madonnas, which he placed amid beautiful landscapes, in the manner of genre pictures or poetic pastorals. The Virgin with the Rabbit, in The Louvre, is the finished type of these pictures. Another work of the same period, also in the Louvre, is the Entombment.This was also the period of the three large and famous mythological scenes for the camerino of Alfonso d'Este in Ferrara, The Bacchanal of the Andrians and the Worship of Venus in the Museo del Prado, and the Bacchus and Ariadne (1520–23) in London, "perhaps the most brilliant productions of the neo-pagan culture or "Alexandrianism" of the Renaissance, many times imitated but never surpassed even by Rubens himself." Finally this was the period when Titian composed the half-length figures and busts of young women, probably courtesans, such as Flora of the Uffizi, or Woman with a Mirror in the Louvre (the scientific images of this painting are available, with explanations, on the website of the French Center for Research and Restoration of the Museums of France)

Maturity
Titian's skill with colour is exemplified by his Danaë, one of several mythological paintings, or "poesie" ("poems") as the painter called them. This painting was done for Alessandro Farnese, but a later variant was produced for Philip II, for whom Titian painted many of his most important mythological paintings. Although Michelangelo adjudged this piece deficient from the point of view of drawing, Titian and his studio produced several versions for other patrons. Another famous painting is Bacchus and Ariadne, depicting Theseus, whose ship is shown in the distance and who has just left Ariadne at Naxos, when Bacchus arrives, jumping from his chariot, drawn by two cheetahs, and falling immediately in love with Ariadne. Bacchus raised her to heaven. Her constellation is shown in the sky.The painting belongs to a series commissioned from Bellini, <mask>, and Dosso Dossi, for the Camerino d'Alabastro (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso I d'Este, Duke of Ferrara, who in 1510 even tried to commission Michelangelo and Raphael. During the next period (1530–1550), <mask> developed the style introduced by his dramatic Death of St. Peter Martyr. In 1538, the Venetian government, dissatisfied with Titian's neglect of his work for the ducal palace, ordered him to refund the money he had received, and Il Pordenone, his rival of recent years, was installed in his place. However, at the end of a year Pordenone died, and <mask>, who meanwhile applied himself diligently to painting in the hall the Battle of Cadore, was reinstated. This major battle scene was lost—with many other major works by Venetian artists—in the 1577 fire that destroyed all the old pictures in the great chambers of the Doge's Palace. It depicted in life-size the moment when the Venetian general d'Alviano attacked the enemy, with horses and men crashing down into a stream. It was Titian's most important attempt at a tumultuous and heroic scene of movement to rival Raphael's Battle of Constantine, Michelangelo's equally ill-fated Battle of Cascina, and Leonardo da Vinci's The Battle of Anghiari (these last two unfinished).There remains only a poor, incomplete copy at the Uffizi, and a mediocre engraving by Fontana. The Speech of the Marquis del Vasto (Madrid, 1541) was also partly destroyed by fire. But this period of the master's work is still represented by the Presentation of the Blessed Virgin (Venice, 1539), one of his most popular canvasses, and by the Ecce Homo (Vienna, 1541). Despite its loss, the painting had a great influence on Bolognese art and Rubens, both in the handling of details and the general effect of horses, soldiers, lictors, powerful stirrings of crowds at the foot of a stairway, lit by torches with the flapping of banners against the sky. Less successful were the pendentives of the cupola at Santa Maria della Salute (Death of Abel, Sacrifice of Abraham, David and Goliath). These violent scenes viewed in perspective from below were by their very nature in unfavorable situations. They were nevertheless much admired and imitated, Rubens among others applying this system to his forty ceilings (the sketches only remain) of the Jesuit church at Antwerp.At this time also, during his visit to Rome, the artist began a series of reclining Venuses: The Venus of Urbino of the Uffizi, Venus and Love at the same museum, Venus—and the Organ-Player, Madrid, which shows the influence of contact with ancient sculpture. Giorgione had already dealt with the subject in his Dresden picture, finished by Titian, but here a purple drapery substituted for a landscape background changed, by its harmonious colouring, the whole meaning of the scene. From the beginning of his career, Titian was a masterful portrait-painter, in works like La Bella (Eleanora de Gonzaga, Duchess of Urbino, at the Pitti Palace). He painted the likenesses of princes, or Doges, cardinals or monks, and artists or writers. "...no other painter was so successful in extracting from each physiognomy so many traits at once characteristic and beautiful". Among portrait-painters <mask> is compared to Rembrandt and Velázquez, with the interior life of the former, and the clearness, certainty, and obviousness of the latter. These qualities show in the Portrait of Pope Paul III of Naples, or the sketch of the same Pope Paul III and his Grandsons, the Portrait of Pietro Aretino of the Pitti Palace, the Portrait of Isabella of Portugal (Madrid), and the series of Emperor Charles V of the same museum, the Charles V with a Greyhound (1533), and especially the Equestrian Portrait of Charles V (1548), an equestrian picture in a symphony of purples.This state portrait of Charles V (1548) at the Battle of Mühlberg established a new genre, that of the grand equestrian portrait. The composition is steeped both in the Roman tradition of equestrian sculpture and in the medieval representations of an ideal Christian knight, but the weary figure and face have a subtlety few such representations attempt. In 1532, after painting a portrait of the emperor Charles V in Bologna, he was made a Count Palatine and knight of the Golden Spur. His children were also made nobles of the Empire, which for a painter was an exceptional honor. As a matter of professional and worldly success, his position from about this time is regarded as equal only to that of Raphael, Michelangelo and, at a later date, Rubens. In 1540 he received a pension from d'Avalos, marquis del Vasto, and an annuity of 200 crowns (which was afterwards doubled) from Charles V from the treasury of Milan. Another source of profit, for he was always

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 aware of money, was a contract obtained in 1542 for supplying grain to Cadore, where he visited almost every year and where he was both generous and influential.Titian had a favorite villa on the neighboring Manza Hill (in front of the church of Castello Roganzuolo) from which (it may be inferred) he made his chief observations of landscape form and effect. The so-called Titian's mill, constantly discernible in his studies, is at Collontola, near Belluno. He visited Rome in 1546 and obtained the freedom of the city—his immediate predecessor in that honor having been Michelangelo in 1537. He could at the same time have succeeded the painter Sebastiano del Piombo in his lucrative office as holder of the piombo or Papal seal, and he was prepared to take Holy Orders for the purpose; but the project lapsed through his being summoned away from Venice in 1547 to paint Charles V and others in Augsburg. He was there again in 1550, and executed the portrait of Philip II, which was sent to England and was useful in Philip's suit for the hand of Queen Mary. Final years

During the last twenty-six years of his life (1550–1576), Titian worked mainly for Philip II and as a portrait-painter. He became more self-critical, an insatiable perfectionist, keeping some pictures in his studio for ten years—returning to them and retouching them, constantly adding new expressions at once more refined, concise, and subtle.He also finished many copies that his pupils made of his earlier works. This caused problems of attribution and priority among versions of his works—which were also widely copied and faked outside his studio during his lifetime and afterwards. For Philip II, he painted a series of large mythological paintings known as the "poesie", mostly from Ovid, which scholars regard as among his greatest works. Thanks to the prudishness of Philip's successors, these were later mostly given as gifts, and only two remain in the Prado. Titian was producing religious works for Philip at the same time, some of which—the ones inside Ribeira Palace—are known to have been destroyed during the 1755 Lisbon Earthquake. The "poesie" series contained the following works:
 Danaë, sent to Philip in 1553, now Wellington Collection, with earlier and later versions
 Venus and Adonis, of which the earliest surviving version, delivered in 1554, is in the Prado, but several versions exist
 Perseus and Andromeda (Wallace Collection, now damaged)
 Diana and Actaeon, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh
 Diana and Callisto, were dispatched in 1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh
 The Rape of Europa (Boston, Isabella Stewart Gardner Museum), delivered in 1562
 The Death of Actaeon, begun in 1559 but worked on for many years and never completed or delivered

Titian's poesie series for Philip II

Another painting that apparently remained in his studio at his death, and has been much less well known until recent decades, is the powerful, even "repellent" Flaying of Marsyas (Kroměříž, Czech Republic). Another violent masterpiece is Tarquin and Lucretia (Cambridge, Fitzwilliam Museum).For each problem he undertook, he furnished a new and more perfect formula. He never again equaled the emotion and tragedy of The Crowning with Thorns (Louvre); in the expression of the mysterious and the divine he never equaled the poetry of the Pilgrims of Emmaus; while in superb and heroic brilliancy he never again executed anything more grand than The Doge Grimani adoring Faith (Venice, Doge's Palace), or the Trinity, of Madrid. On the other hand, from the standpoint of flesh tints, his most moving pictures are those of his old age, such as the poesie and the Antiope of the Louvre. He even attempted problems of chiaroscuro in fantastic night effects (Martyrdom of St. Laurence, Church of the Jesuits, Venice; St. Jerome, Louvre; Crucifixion, Church of San Domenico, Ancona). Titian had engaged his daughter Lavinia, the beautiful girl whom he loved deeply and painted various times, to Cornelio Sarcinelli of Serravalle. She had succeeded her aunt Orsa, then deceased, as the manager of the household, which, with the lordly income that Titian made by this time, placed her on a corresponding footing. Lavinia's marriage to Cornelio took place in 1554.She died in childbirth in 1560. Titian was at the Council of Trent towards 1555, of which there is a finished sketch in the Louvre. His friend Aretino died suddenly in 1556, and another close intimate, the sculptor and architect Jacopo Sansovino, in 1570. In September 1565 Titian went to Cadore and designed the decorations for the church at Pieve, partly executed by his pupils. One of these is a Transfiguration, another an Annunciation (now in San Salvatore, Venice), inscribed Titianus fecit, by way of protest (it is said) against the disparagement of some persons who caviled at the veteran's failing handicraft. Around 1560, Titian painted the oil on canvas Madonna and Child with Saints Luke and Catherine of Alexandria, a derivative on the motif of Madonna and Child. It is suggested that members of Titian's Venice workshop probably painted the curtain and Luke, because of the lower quality of those parts.He continued to accept commissions to the end of his life. Like many of his late works, Titian's last painting, the Pietà, is a dramatic, nocturnal scene of suffering. He apparently intended it for his own tomb chapel. He had selected, as his burial place, the chapel of the Crucifix in the Basilica di Santa Maria Gloriosa dei Frari, the church of the Franciscan Order. In payment for a grave, he offered the Franciscans a picture of the Pietà that represented himself and his son Orazio, with a sibyl, before the Savior. He nearly finished this work, but differences arose regarding it, and he settled on being interred in his native Pieve. Death

While the plague raged in Venice, Titian died of a fever on 27 August 1576.Depending on his unknown birthdate (see above), he was somewhere from his late eighties or even close to 100. Titian was interred in the Frari (Basilica di Santa Maria Gloriosa dei Frari), as at first intended, and his Pietà was finished by Palma il Giovane. He lies near his own famous painting, the Madonna di Ca' Pesaro. No memorial marked his grave. Much later the Austrian rulers of Venice commissioned Antonio Canova to sculpt the large monument still in the church. Very shortly after Titian's death, his son, assistant and sole heir Orazio, also died of the plague, greatly complicating the settlement of his estate, as he had made no will. Printmaking
Titian never attempted engraving, but he was very conscious of the importance of printmaking as a means to expand his reputation.In the period 1517–1520 he designed a number of woodcuts, including an enormous and impressive one of The Crossing of the Red Sea, intended as wall decoration in substitute for paintings; and collaborated with Domenico Campagnola and others, who produced additional prints based on his paintings and drawings. Much later he provided drawings based on his paintings to Cornelis Cort from the Netherlands who engraved them. Martino Rota followed Cort from about 1558 to 1568. Painting materials
Titian employed an extensive array of pigments and it can be said that he availed himself of virtually all available pigments of his time. In addition to the common pigments of the Renaissance period, such as ultramarine, vermilion, lead-tin yellow, ochres, and azurite, he also used the rare pigments realgar and orpiment. Family and workshop

Titian's wife, Cecilia, was a barber's daughter from his hometown village of Cadore. As a young woman she had been his housekeeper and mistress for some five years.Cecilia had already borne Titian two fine sons, Pomponio and Orazio, when in 1525 she fell seriously ill. Titian, wishing to legitimize the children, married her. Cecilia recovered, the marriage was a happy one, and they had another daughter who died in infancy. In August 1530 Cecilia died. Titian remarried, but little information is known about his second wife; she was possibly the mother of his daughter Lavinia. Titian had a fourth child, Emilia, the result of an affair, possibly with a housekeeper. His favourite child was Orazio, who became his assistant. In August 1530, Titian moved his two sons and infant daughter to a new home and convinced his sister Orsa to come from Cadore and take charge of the household.The mansion, difficult to find now, is in the Biri Grande, then a fashionable suburb, at the extreme end of Venice, on the sea, with beautiful gardens and a view towards Murano. In about 1526 he had become acquainted, and soon close friends, with Pietro Aretino, the influential and audacious figure who features so strangely in the chronicles of the time. Titian sent a portrait of him to Gonzaga, duke of Mantua. When he was very young, the famed Italian painter Tintoretto was brought to Titian's studio by his father. This was supposedly around 1533, when Titian was (according to the ordinary accounts) over 40 years of age. Tintoretto had only been ten days in the studio when Titian sent him home for good, because the great master observed some very spirited drawings, which he learned to be the production of Tintoretto; it is inferred that he became at once jealous of so promising a student. This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be properly a pupil.From this time forward the two always remained upon distant terms, though Tintoretto being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turned a cold shoulder to him. There was also active disparagement, but it passed unnoticed by Tintoretto. Several other artists of the Vecelli family followed in the wake of Titian. Francesco Vecellio, his older brother, was introduced to painting by Titian (it is said at the age of twelve, but chronology will hardly admit of this), and painted in the church of S. Vito in Cadore a picture of the titular saint armed. This was a noteworthy performance, of which Titian (the usual story) became jealous; so Francesco was diverted from painting to soldiering, and afterwards to mercantile life. Marco Vecellio, called Marco di Tiziano, born in 1545, was <mask>'s nephew and was constantly with the master in his old age, and learned his methods of work. He has left some able productions in the ducal palace, the Meeting of Charles V and Clement VII in 1529; in San Giacomo di Rialto, an Annunciation; in Santi Giovanni e Paolo, Christ Fulminant.A son of Marco, named Tiziano (or Tizianello), painted early in the 17th century. From a different branch of the family came Fabrizio di Ettore, a painter who died in 1580. His brother Cesare, who also left some pictures, is well known by his book of engraved costumes, Abiti antichi e moderni. Tommaso Vecelli, also a painter, died in 1620. There was another relative, Girolamo Dante, who, being a scholar and assistant of Titian, was called Girolamo di Tiziano. Various pictures of his were touched up by the master, and are difficult to distinguish from originals. Few of the pupils and assistants of Titian became well known in their own right; for some being his assistant was probably a lifetime career.Paris Bordone and Bonifazio Veronese were his assistants during at some point in their careers. Giulio Clovio said Titian employed El Greco (or Dominikos Theotokopoulos) in his last years. Polidoro da Lanciano is said to have been a follower or pupil of Titian. Other followers were Nadalino da Murano, Damiano Mazza, and Gaspare Nervesa. Present day
Contemporary estimates attribute around 400 works to Titian, of which about 300 survive. Two of Titian's works in private hands were put up for sale in 2008. One of these, Diana and Actaeon, was purchased by London's National Gallery and the National Galleries of Scotland on 2 February 2009 for £50 million.The galleries had until 31 December 2008 to make the purchase before the work would be offered to private collectors, but the deadline was extended. The sale created controversy with politicians who argued that the money could have been spent more wisely during a deepening recession. The Scottish Government offered £12.5 million and £10 million came from the National Heritage Memorial Fund. The rest of the money came from the National Gallery and from private donations. The other painting, Diana and Callisto, was for sale for the same amount until 2012 before it was offered to private collectors. Gallery of works

Notes

References
 Cole, Bruce, Titian and Venetian Painting, 1450-1590, Westview Press, Boulder, Colorado, 1999,
 Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London, 1975,
 Hale, Sheila, Titian: His Life, HarperCollins, New York, NY, 2012,
 Jaffé, David (ed. ), Titian, The National Gallery Company/Yale, London, 2003,
 Landau, David, in Jane Martineau and Charles Hope (eds.), The Genius of Venice, 1500–1600, Royal Academy of Arts, London, 1983, ,
 Penny, Nicholas, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd,
 Ridolfi, Carlo (1594–1658); The Life of Titian, translated by Julia Conaway Bondanella and Peter E. Bondanella, Penn State Press, 1996, ,  Google Books

Further reading
 Crowe, Joseph Archer and Cavalcaselle, Giovanni Battista, Titian: His Life and Times. With Some Account of His Family, Chiefly from New and Unpublished Records. Volume I (London: John Murray, 1877)
The Life and Times of Titian. With Some Account of His Family. Volume II (London: John Murray, 1881). Loh, Maria H., Titian's Touch: Art, Magic and Philosophy, London: Reaktion Books, 2019, ,

 Nichols, Tom, Titian and the End of the Venetian Renaissance, London: Reaktion Books, 2013. Prose, Francine and Salomon, Xavier F., Titian's Pietro Aretino, The Frick Collection, 2020,

External links

 A closer Look at the Madonna of the Rabbit multimedia feature, Musée du Louvre official site (English version)
 The Titian Foundation Images of 168 paintings by the artist.<mask>'s paintings
 Tiziano Vecellio at Web Gallery of Art
 Christies' sale blurb for the recently restored 'Mother and Child'
 Bell, Malcolm The early work of Titian, at Internet Archive
 <mask> at Panopticon Virtual Art Gallery
 How to Paint Like Titian James Fenton essay on <mask> from The New York Review of Books
 Tiziano Vecellio - one of the greatest artists of all time
 Interactive high resolution scientific imagery of <mask>'s Portrait of a Woman with a Mirror from the C2RMF
 Titian: general resources, his paintings, and pigments used, ColourLex
 Teresa Lignelli, "Archbishop Filippo Archinto by Titian (cat. 204)," in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication
 Titian's Filppo Archinto at the Metropolitan Museum of Art

Italian Renaissance painters
Painters from Venice
1480s births
1576 deaths
16th-century deaths from plague (disease)
Deaths in Italy
Italian male painters
Italian Roman Catholics
People from the Province of Belluno
Republic of Venice artists
15th-century Venetian people
16th-century Venetian people
15th-century Italian painters
16th-century Italian painters
Catholic painters
Burials at Santa Maria Gloriosa dei

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<mask> (16 November 1947 – 1 February 2022) was an Australian rules footballer. He played 33 games with Footscray in the Victorian Football League (VFL) from 1967 until 1969 but it was in the Victorian Football Association (VFA) with Yarraville and Port Melbourne that he made his name. In his brief career with Footscray he played in defence and only kicked two goals; at Yarraville, he won the J. J. Liston Trophy playing as a ruckman and defender; then with Port Melbourne, he became one of the Association's premier forwards, leading the VFA goalkicking in five separate seasons and kicking an all-time VFA career record of 1336 goals from his 300 games. Career
<mask> grew up in Yarraville in Melbourne's inner western suburbs, and supported Footscray in the VFL. He played amateur football as a junior for the Footscray Tech Old Boys, and then joined the Footscray Football Club in 1967 at age 19. In his second season, 1968, <mask> played every game, primarily at centre half-back, and was already developing a reputation as one of the strongest marks in the league. After the sixth round of the 1969 season, <mask> was dropped from Footscray senior side to the reserves, along with six other players, as a disciplinary action for attending a family BBQ at former coach Charlie Sutton's house, which club secretary Jack Collins had thought would be a drunken swill, and had discouraged players from attending.After two weeks in the reserves, <mask> was encouraged to cross over to Yarraville in the VFA. The VFA had recently broken its permit agreement with the VFL, meaning that <mask> did not require a clearance from Footscray to make the move; and, because the VFA lacked the restrictive player payments laws that the VFL had, Yarraville could offer <mask> more money than he was then making at Footscray. In 1970, his first full season with Yarraville, he won the J. J. Liston Trophy for the VFA's best and fairest player playing as its first choice ruckman. Despite his efforts, Yarraville won only one game for the season and was relegated to Division 2, and <mask> decided to transfer to Port Melbourne in 1971, where he continued as either a centre half-back or a centre half-forward, depending on the opposition line up. During a 1972 pre-season practice match against Brunswick, <mask> suffered a heart attack between the first and second quarters, but he managed to play the game out and still take 17 marks. He spent the next three weeks in hospital and was advised to retire from football. But, <mask> was determined to play again, and made a return later that year.In his first reserves game after the heart attack, he was played at full-forward to keep him out of the heavier action, and he kicked sixteen goals. He made his return to senior football in the last game of the year, less than six months after his heart attack. <mask> was still a utility player at Port Melbourne, playing in the half-backline, ruck and forward-line depending on the needs of the team until 1974; and, in fact, in mid-1974, five years into his VFA career, he was still described as "a makeshift full-forward" by sportswriters of the time. He went on to kick 10.2 from his twelve kicks in that year's Grand Final, and thereafter he was a permanent full-forward, dominating the Association's goalkicking for the next decade. He topped the VFA's goalkicking five times in a prolific period from 1976–1982. His highest VFA season tally was in 1982, when he kicked 140 goals. He played in all six of Port Melbourne's premierships and the Centenary Cup victory during the 1974–1982 period, and was a noted performer in Grand Finals, kicking 10 goals in the 1974 Grand Final, 12 goals in the Centenary Cup Grand Final, 9 goals in the 1977 Grand Final, and five goals in the infamous 1976 Grand Final, despite having been king-hit in the second quarter.He represented the VFA in interleague competition on nine occasions, including several times as captain. He announced his retirement from Port Melbourne at the age of 36, shortly before the end of the 1984 season, having played 253 games and kicked 1210 goals for the club over 14 years; however, he had little say in the matter, as club officials indicated that he would no longer be selected in the team due to diminishing returns over his final two seasons. He made a comeback for Division 2 club Moorabbin in 1985, playing eighteen games to become the first player to play 300 VFA games, before retiring permanently. <mask> holds the record for most goals kicked in the VFA with 1336, with his record of 300 games being broken by former teammate Bill Swan in 1993. <mask>'s success was largely attributed to his marking: he was widely regarded as being one of the strongest and safest marks in the game, even in his early years at Footscray. Through the peak of his career, he was also one of the game's fastest sprinters over a short distance, giving him an advantage as a leading forward. However, somewhat ironically for the VFA's all-time leading goalkicker, he was a poor kick for goal, and many observers commented that he could have kicked many more goals, and perhaps even have become the first man to kick 200 goals in a season, if he'd been a more accurate goalkicker; but, his marking was so dominant and generated so many set shots from close range that it made up for his inaccuracy.In 2014, the Lorimer St end of North Port Oval was renamed the Cook End in honour of <mask>'s goalkicking achievements for Port Melbourne. Career record
<mask>'s VFA career record is variously listed as 300, 305 or 309 games and 1336, 1364 or 1394 goals, and his Port Melbourne totals listed as 253, 258 or 262 games and 1210, 1238 or 1268 goals. The discrepancy comes from whether or not senior but non-premiership games from 1977 and 1978 are included:
 For 1977, he is listed as kicking 125, 155 or 167 goals in 20, 24 or 26 games (125 goals in 20 VFA premiership games, 30 goals in four games of a once-off Centenary Cup competition, and 12 goals in two games of the NFL's Ardath Cup Night Series). For 1978, he is listed as kicking 115 or 131 goals in 20 or 23 games (115 goals in 20 VFA premiership games and 16 goals in three games of the Ardath Cup Night Series). The above discrepancies arise from Norm Goss Sr., Port Melbourne's long-serving secretary, successfully lobbying VFA officials during the 1977 season to include games played in the Ardath Cup Night Series and Centenary Cup competition in players' official career statistics. The VFA rescinded this ruling after Goss's death in January 1983, but Port Melbourne continues to include these games in their club records as of 2018. If the post-1896 VFA/VFL games, representative matches, and night series games are considered, then his overall total of 1441 goals places him third on the list of highest-ever goalkickers in elite Australian rules football history, behind Ken Farmer and Peter Hudson.Off-field
Throughout the 1970s, <mask> became the most well-known and popular player in the VFA. His status as a marketable and likeable celebrity contributed significantly to the popularity of the VFA during that time, and he took on several media commitments, including a VFA column in The Sporting Globe and a segment on the World of Sport television program. He spoke regularly at sportsmen's nights, and had a promotions job with Puma SE. From 1982 until 1985, <mask> was the publican of the Station Hotel in Port Melbourne, and his celebrity status helped to make the pub successful during that time. While at the Station Hotel, <mask> came to associate with criminal Dennis Allen, and began to use amphetamines. After 1985, <mask> became addicted to the drug, which brought him close to being broke, and he later began to deal. He served three jail terms between 1990 and 1997 on drugs-related offences.<mask> died on 1 February 2022, at the age of 74. References

External links

1947 births
2022 deaths
Western Bulldogs players
Australian rules footballers from Victoria (Australia)
Port Melbourne Football Club players
Yarraville Football Club players
Moorabbin Football Club players
Frankston Bombers players
J. J. Liston Trophy winners

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<mask> (1586c. 1639) was an English playwright and poet of the Jacobean and Caroline eras born in Ilsington in Devon, England. His plays deal mainly with the conflict between passion and conscience. Although remembered primarily as a playwright, he also wrote a number of poems on themes of love and morality. Origins
<mask> was baptised 17 April 1586 at Ilsington Church, Devon. He was the second son of <mask> (1556–1610) of Bagtor in the parish of Ilsington, and his wife Elizabeth Popham (died 1629) of the Popham family of Huntworth in Somerset. Her monument exists in Ilsington Church.<mask>'s grandfather was <mask> (died 1538) of Ashburton (the son and heir of <mask> of Chagford) who purchased the estate of Bagtor in the parish of Ilsington, which his male heirs successively made their seat. The Elizabethan mansion of the <mask>s survives today at Bagtor as the service wing of a later house appended in about 1700. Life and work
<mask> left home to study in London, although more specific details are unclear—a sixteen-year-old <mask> of Devon was admitted to Exeter College, Oxford, on 26 March 1601, but this was when the dramatist had not yet reached his sixteenth birthday. He joined an institution that was a prestigious law school but also a centre of literary and dramatic activity—the Middle Temple. A prominent junior member in 1601 was the playwright <mask>. (It is unknown whether <mask> ever actually studied law while a resident of the Middle Temple, or whether he was strictly a gentleman boarder, which was a common arrangement at the time). It was not until 1606 that <mask> wrote his first works for publication.In the spring of that year he was expelled from Middle Temple, due to his financial problems, and Fame's Memorial and Honour Triumphant soon followed. Both works are clear bids for patronage: Fame's Memorial is an elegy of 1169 lines on the recently deceased Charles Blount, 1st Earl of Devonshire, while Honour Triumphant is a prose pamphlet, a verbal fantasia written in connection with the jousts planned for the summer 1606 visit of King Christian IV of Denmark. It is unknown whether either of these brought any financial remuneration to <mask>; yet by June 1608 he had enough money to be readmitted to the Middle Temple. Prior to the start of his career as a playwright, <mask> wrote other non-dramatic literary works—the long religious poem Christ's Bloody Sweat (1613), and two prose essays published as pamphlets, The Golden Mean (1613) and A Line of Life (1620). After 1620 he began active dramatic writing, first as a collaborator with more experienced playwrights—primarily Thomas Dekker, but also <mask> and William Rowley—and by the later 1620s as a solo artist. <mask> is best known for the tragedy 'Tis Pity She's a Whore (1633), a family drama with a plot line of incest. The play's title has often been changed in new productions, sometimes being referred to as simply Giovanni and Annabella—the play's leading, incestuous brother-and-sister characters; in a nineteenth-century work it is coyly called The Brother and Sister.Shocking as the play is, it is still widely regarded as a classic piece of English drama. It has been adapted to film at least twice: My Sister, My Love (Sweden, 1966) and 'Tis Pity She's a Whore (Belgium, 1978). He was a major playwright during the reign of Charles I. His plays deal with conflicts between individual passion and conscience and the laws and morals of society at large; <mask> had a strong interest in abnormal psychology that is expressed through his dramas. His plays often show the influence of Robert Burton's The Anatomy of Melancholy. While virtually nothing is known of <mask>'s personal life, one reference suggests that his interest in melancholia may have been more than merely intellectual. The volume Choice Drollery (1656) asserts that

Deep in a dump alone <mask> was gat,
With folded arms and melancholy hat.The canon of <mask>'s plays
<mask> began his dramatic career in a way common in the period, by contributing to plays co-authored with more established dramatists. Six such plays survive:
The Laws of Candy (1620; printed 1647), with Philip Massinger;
The Witch of Edmonton  (1621; printed 1658), with Thomas Dekker and William Rowley;
The Welsh Ambassador  (1623; printed 1920), with Dekker;
The Spanish Gypsy (licensed 9 July 1623; printed 1653), with Dekker, Thomas Middleton, and Rowley;
The Sun's Darling (licensed 3 March 1624; revised 1638–39; printed 1656), with Dekker;
The Fair Maid of the Inn (1626; printed 1647), with Massinger, <mask>, and <mask>. The attributions of several of these plays to their various authors were often debated or regarded as uncertain. Such questions were placed beyond reasonable doubt in 2017 with the publication of Volume II of The Collected Works of <mask>, ed. Brian Vickers, which contains 300 pages of evidence and discussion clearly identifying each of the above authors' contributions to those six plays. Darren Freebury-Jones has proposed that <mask> was responsible for completing The Noble Gentleman after <mask> died in 1625. After 1626 <mask> made the transition to sole author and wrote a further eight surviving plays:
The Queen (1627; printed 1653)
The Lover's Melancholy (licensed 24 November 1628; printed 1629)
The Broken Heart (1629; printed 1633)
'Tis Pity She's a Whore (1631; printed 1633)
Love's Sacrifice (1632; printed 1633)
Perkin Warbeck (1633; printed 1634)
The Fancies Chaste and Noble (1636; printed 1638)
The Lady's Trial  (licensed 3 May 1638; printed 1639)

As is typical for pre-Restoration playwrights, a significant portion of <mask>'s output has not survived.Lost plays by <mask> include The Royal Combat and Beauty in a Trance, plus more collaborations with Dekker: The London Merchant, The Bristol Merchant, The Fairy Knight, and Keep the Widow Waking, the last also with William Rowley and <mask>. In 1940, critic Alfred Harbage argued that Sir Robert Howard's play The Great Favourite, or The Duke of Lerma is an adaptation of a lost play by <mask>. Harbage noted that many previous critics had judged the play suspiciously good, too good for Howard; and Harbage pointed to a range of resemblances between the play and <mask>'s work. The case, however, relies solely upon internal evidence and subjective judgements. Poetry
As well as the poems already mentioned, several others have survived. In the 1920s, Australian-born composer <mask> set <mask>'s "Beauty's Beauty" to music. Notes

References
Halliday, F. E. A Shakespeare Companion 1564–1964.Baltimore, Penguin, 1964. Harbage, Alfred. "Elizabethan:Restoration Palimpsest." Modern Language Review Vol. 35 No. 3 (July 1940), pp. 278–319.Logan, Terence P. and Denzell, S. Smith, eds. The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, Nebraska, University of Nebraska Press, 1978. Stavig, Mark. <mask> and the Traditional Moral Order. Madison, WI, University of Wisconsin Press, 1968. External links

1831 Edition of the Works of <mask> (Volume One of Two) at the Internet Archive
1831 Edition of the Works of <mask> (Volume Two of Two) at the Internet Archive
The John Ford Editorial Project at the Institute of English Studies, directed by Sir Brian Vickers
The Collected Works of <mask>, vol.1 (2011); vols.2 and 3 (2017), Gen. ed. Sir Brian Vickers, published by Oxford University Press. English Renaissance dramatists
Alumni of Exeter College, Oxford
People from Teignbridge (district)
1586 births
1630s deaths
Date of death unknown
Place of death unknown
Date of birth unknown
17th-century English dramatists and playwrights
17th-century English male writers
English male dramatists and playwrights
English male poets

masks:
John Ford
John Ford
Thomas Ford
Thomas Ford
John Ford
William Ford
Ford
Ford
John Ford
John Marston
Ford
Ford
Ford
Ford
John Webster
Ford
Ford
Ford
John Ford
Ford
Ford
John Webster
John Fletcher
John Ford
Ford
John Fletcher
Ford
Ford
Ford
John Webster
Ford
Ford
John Gough
Ford
John Ford
John Ford
John Ford
John Ford


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<mask>Max<mask> (August 25, 1899 – March 7, 1990) was an American theatrical designer, producer and director. Life and work
Born August 25, 1899, in Shchedrin near Minsk, Russia, <mask> (Max<mask> immigrated with his family to the United States in 1905 to escape the pogroms that killed most of his family. After graduating from the Pratt Institute of Fine Arts in Brooklyn in 1920, he worked for a time with Robert Edmond Jones, the pioneer American set designer who became his mentor. <mask> rendered in a wide variety of media and styles working with the most famous designers of the 1920s and 1930s – Robert Edmond Jones, Lee Strasberg, Elia Kazan, Arthur Miller, Norman Bel Geddes, Lee Simonson, Jo Mielziner, Oliver Messel, Aleksandr Golovin, Henri Matisse, André Derain, and Cleon Throckmorton. He worked for the most prestigious companies—the Provincetown Players, the Theatre Guild on Broadway, the Group Theatre New York, and the Actors Laboratory Theater in Hollywood. In keeping with his love of experimental theatre, he was involved with the most avant-garde companies of the day—the New Playwrights Theatre, the Theatre Collective, the Theatre of Action, and the Theatre Union. His first encounter with Bertolt Brecht in 1935 deeply influenced both his theories and designs.He became an advocate for the Epic Theater style developed by Brecht and director Erwin Piscator, and he pioneered the deliberate employment of metaphor in design. A decade later, he served as a designer and director for the Biarritz American University in France where he began teaching a seminar known as "The Scenic Imagination." It won national recognition as an original, inspiring, and incisive approach to the purely creative side of stage production in script, direction, acting, and design. This study was in unique contrast to the vocational method known as stagecraft, taught everywhere else. Four years later, he also acted as an Expert Consultant in Theater for the American Military Government in Germany. His command of French and German languages enabled him to network with amateur and professional theatres around the globe. As a leading American expert on the modern stage form, his reputation was based in part on his record as a stage and film designer and in part on the years of research he carried out, abroad, under the John Simon Guggenheim Memorial Foundation Fellowship (1936–37).In 1949-50, <mask> was catapulted to great heights working with the National Theatre Conference and the Rockefeller Foundation Grant (1949–51) to produce Europe Onstage. He writes:

“The purpose of this book is to put on record the basic realities of the European theatre at the halfway mark of the 20th century. With that in view, I spent more than a year and a half in nine European countries: Italy, France, Germany, Austria, Switzerland, Czechoslovakia, Poland, England, and Ireland. Everywhere I attended plays, talked with stage people and consulted the dramatic theories and criticisms that came to hand. Since I am convinced that modern theatre, especially, cannot be understood except in relation to the state of mind its public, I have tried, very briefly, to give some notion of what that is like in each of the countries I have visited. This journey has been a fascinating experience, but in some ways a terrible one. America has thus far been spared --and I hope may always be spared-- the vast destruction and unleashed mass insanity that descended upon Europe ...."

He aspired to provide a precise knowledge of post-war problems with theatres across Western Europe.Because he spoke French and German fluently, he was able to examine many layers of people working in theatres across different cultures. He found the social and political health of a nation could be measured by the way it treated its artists. For example, correspondence from the Office of the United States High Commissioner for Germany tallied the destruction of German theatres. In 1943 there were 418 dramatic companies in operation. Just six years later, 98 theatres were completely destroyed and 114 dramatic companies remained in operation; 88 were subsidized by the State and 26 were private. Individual freedoms are not valued in a culture torn by fear, hate, and envy. Innovation, breaking down barriers, and challenging the status quo was a threatening prospect in war-torn societies.As artists and craftsmen didn't regroup and failed to rebuild, universities became havens of avant garde commentary in response to the general cultural crisis. This study affected <mask> deeply. He worked with amateur and professional theatres around the globe. He influenced stage design, helped define the designer's role in the production process, and gave a voice to the silent majority. He went on to design the sets for 40 Broadway plays. He worked in New York and California for 50 years as a director, designer, author, and critic. His career spanned 3/4 of the 20th century and he taught at several universities.A Fulbright Grant (1967) he received enabled him to examine Australian theatre in a similar way. He traveled to Japan, India, and Israel as well. Across cultures, <mask> found the theatre was not merely an institution for self-expression; it was a tool for shaping history, especially where there was upheaval. Through the Arts, audiences were allowed to explore issues, become more liberal, and make social and political changes. That's why he often said in his articles and lectures that the future of theatre in America lay in its universities—where the central concern of this remarkable form of communication was its responsibility to its audience. <mask>'s first book, New Theatres for Old (1940), became a classic textbook used in scores of American universities. His articles were published by numerous sources including Encyclopædia Britannica, Collier's Encyclopedia, Encyclopedia Americana, Drama Survey, and Theatre Arts Magazine.As a noted critic and scholar, his essays appeared in The New York Times, The New York Herald Tribune, The Arts, Educational Theatre Journal, Speech Association Quarterly, Tulane Drama Review, Contact Magazine, Davidlo (Prague), Tester-forbundets Medlemsblad (Stockholm), Teatr Y Dramaturgia (Moscow), Buhnentechenische Rundschau (Berlin), Theatre Newsletter (London), and Hollywood Quarterly. On Broadway, Max designed forty sets. His career began with John Howard Lawson's vaudevillian critique of Americana, Processional, and ended in 1960 with A Distant Bell. He was also the translator and adapter of The Firebugs (1963), by Swiss playwright Max Frisch. His more notable scene designs include such plays as Men in White, Golden Boy, Casey Jones, All My Sons, Desire Under the Elms, The Flowering Peach, A Hatful of Rain, The Plough and the Stars, Volpone, Tortilla Flat , King Hunger, Processional, and Mother. His film designs include L'Ennemi Publique No. 1 and None But the Lonely Heart.<mask> was previously an instructor-designer for the School of Theatre, New York City (1921–22), and was on the faculty of the American Academy of Dramatic Arts (1926–32), the Drama Workshop of the New School for Social Research (1940–41), Biarritz (Fr.) American University (1943–46), University of Toledo (1956), University of Miami (1956), New York University (1956), Bard College (1959), and Brigham Young University (1961), San Jose State College (1965), California State University (Los Angeles 1964, 1966), University of Massachusetts (Boston), Pratt Institute, Long Island University (Brooklyn), and University of Hawaii. From 1960 to 1972, he taught classes and staged plays at Southern Illinois University (Carbondale) as a Research Professor in Theater. As an Emeritus Professor on theater research, his work was anthologized in Best Short Plays of the World Theater' (1976). Upon his retirement he continued to teach, design, direct, and focused primarily on his playwriting. He received an Honorary Doctorate of Humane Letters from Southern Illinois University (1972). Other awards include the Theta Alpha Phi Award (1971); Adjudicator, American College Theatre Festival, Region VIII (1980); U.S. Institute for Theatre Technology Award (1981), Fellowship, Award, American Theatre Association (1982).He sponsored the ACTF Mordecai Gorelik Award in Scenic Design (1981) and the Southern Illinois University Mordecai Gorelik Scholarship in Scenic Design (1983). According to Anne Fletcher in Rediscovering <mask> <mask>: Scene Design and the American Theatre, “When the field was in its infancy, he influenced stage design, helped define the designer's role in the production process, and challenged the American stage in theory and practice.”

<mask> married Frances Strauss in 1936. They had two children: a son <mask> and a daughter <mask>. <mask> died on June 5, 1966. Loraine Kabler became his second wife in 1972. He died of cancer on March 7, 1990, in Sarasota, Florida. References

External links
Guide to the Mordecai Gorelik Play Scripts.Special Collections and Archives, The UC Irvine Libraries, Irvine, California. <mask> <mask> Papers, 1900-1975 at Southern Illinois University Carbondale, Special Collections Research Center. "<mask> Gorelic, Theatrical Designer and Playwright, 90", New York Times obituary, March 10, 1990

1990 deaths
1899 births
People from Zhlobin District
People from Bobruysky Uyezd
Belarusian Jews
Emigrants from the Russian Empire to the United States
American people of Belarusian-Jewish descent
20th-century American dramatists and playwrights
American scenic designers
Broadway set designers
American theatre managers and producers
American theatre directors
Theatre designers
Southern Illinois University faculty
San Jose State University faculty

masks:
Mordecai (
) Gorelik
Mordecai
) Gorelik
Gorelik
Gorelik
Gorelik
Gorelik
Gorelik
Gorelik
Mordecai
Gorelik
Gorelik
Eugene Gorelik
Linda Gorelik
Frances Gorelik
Mordecai
Gorelik
Mordecai


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Robert Cannon "<mask>" <mask> (born August 14, 1945) is an American politician and businessman from North Carolina. A member of the Republican Party, he represented North Carolina's 8th congressional district in the House of Representatives from 1999 to 2009, and was the Republican nominee for Governor of North Carolina in 1996. <mask> served as chairman of the North Carolina Republican Party from 2011 to 2013, and from 2016 to 2019. Accused in a bribery scheme in 2019, <mask> pleaded guilty to lying to the FBI. On January 20, 2021, <mask> was pardoned by President Donald Trump. Early life, education, and early political career
<mask> was born in Concord, North Carolina, to Mariam Winslow (née Cannon) and <mask>. His great-grandfather James William Cannon founded the Cannon Mills Corporation, a Kannapolis-based textile company that was later run by his grandfather Charles Albert Cannon. He is also a descendant of Abraham Owen, a military officer killed at the Battle of Tippecanoe.<mask> graduated from Duke University. He was elected to the Concord city council in 1978 and to the North Carolina House of Representatives in 1992 where he served two terms. He was the Republican nominee for governor in 1996, but was handily defeated by Democratic incumbent Jim Hunt. <mask> owns a hosiery mill in Mount Pleasant, North Carolina. U.S. House of Representatives

Elections
1998–2000
<mask> ran for Congress in 1998 after 12-term incumbent Democrat Bill Hefner announced his retirement. He narrowly defeated Democrat Mike Taylor, winning 51%–48% with a gap of only 3,400 votes. In 2000, he defeated Taylor in a rematch 55%–44%.2002–2004
Even though a large chunk of its population is located in the conservative-leaning eastern suburbs of Charlotte, the 8th has long been considered marginally Democratic due to a strong Democratic presence in the eastern portion of the district closer to Fayetteville. After the 2000 Census, the Democratic-controlled North Carolina General Assembly made the 8th considerably more Democratic than before. It shifted the heavily Republican western portion of Union County to the Charlotte-based 9th District. In its place, it added a heavily Democratic tendril in Mecklenburg County to the 8th, stretching from the far northeastern portion of Charlotte almost to Matthews. In 2002, he defeated Democrat Chris Kouri 54%–45%. In 2004, he defeated Democrat Beth Troutman 56%–45%. 2006

In 2006, however, <mask> was nearly defeated by Democrat Larry Kissell, a social studies teacher and former textile worker from Montgomery County.Each man won approximately 50% of the vote, making it one of the closest elections in the country. At the end, Kissell conceded defeat to <mask> after a recount; <mask> officially won the election by 329 votes. This was especially stunning since Kissell received little help from his national party until late in the campaign. Although <mask> only won three of the district's nine counties, a 6,100-vote margin in his native Cabarrus County was enough to keep him in office. 2008

In 2008, <mask> again faced Kissell. CQ Politics rated it as 'No Clear Favorite', The Rothenberg Political Report as 'Toss-Up/Tilt Democratic', and The Cook Political Report as 'Republican Toss Up'

The Sunlight Foundation reported that as of 2008, among the 435 members of the U.S. House of Representatives, <mask> had the highest amount of investment in oil stocks. <mask> came under fire late in the campaign for his comments at a rally for John McCain.On October 18, 2008, at a McCain rally, <mask> began his remarks by saying it was important to "make sure we don't say something stupid, make sure we don't say something we don't mean." He then accused Obama of "inciting class warfare" and said that "liberals hate real Americans that work and accomplish and achieve and believe in God." <mask> repeatedly denied that he had made the statement and accused reporters of "irresponsible journalism", until an audio recording attesting to the statement was released. A few days later at a debate hosted by the Concord and Kannapolis Independent Tribune, <mask> denied that he denied the statement, saying he was denying only the context of how the remarks were presented to him. Kissel defeated him 55%–45%. Tenure
<mask> is a staunch advocate of a federal prohibition of online poker. In 2006, he cosponsored H.R.4777, the Internet Gambling Prohibition Act. CAFTA and Trade Act
Hayes vacillated on the Central American Free Trade Agreement, which came before the House in 2005. In the weeks before the vote, <mask> stated that he was "flat-out, completely, horizontally opposed to CAFTA" because he felt it would cause further loss of textile industry jobs in his district. <mask> first voted "no" but changed to "yes" at the last minute after he was lobbied by Republican House leadership (specifically House Speaker Dennis Hastert) and textile executives, who favored CAFTA. <mask> said that he had won concessions from the George W. Bush administration on certain textile issues. The final tally was 217–215 with <mask> casting the deciding "yes" vote (a tie would have defeated the motion). <mask> played a similar role in the passage of the Trade Act of 2002, which shifted some trade agreement authority from Congress to the President.Though <mask> had said "We're a definite 'no' until we get some help on textiles," he was lobbied hard by the White House and congressional leadership to vote for the measure. <mask> waited until the last minute before voting "yes," and broke down in tears on the floor of the House. NASCAR vaccine scare
In October 2007, it was revealed that House Homeland Security officials were "advised" to take vaccines before attending a NASCAR race in Concord, North Carolina. <mask> "took umbrage" when he heard about it and immediately defended the Charlotte Motor Speedway in his district and NASCAR fans nationwide. The uproar lasted for days and was covered on all major news outlets. Committee assignments
Agriculture Committee
Subcommittee on Conservation, Credit, Energy, and Research
Subcommittee on Livestock, Dairy, and Poultry (Ranking Member)
Subcommittee on Specialty Crops, Rural Development and Foreign Agriculture
Armed Services Committee
Readiness Subcommittee
Terrorism and Unconventional Threats and Capabilities Subcommittee
Transportation and Infrastructure Committee
Subcommittee on Aviation
Subcommittee on Highways and Transit
Subcommittee on Water Resources and Environment
Assistant Whip
Founding Co-Chairman of the Special Operations Forces Caucus
Co-Chairman of the Philanthropy Caucus

North Carolina Republican Party chairmanship
On January 15, 2011, <mask> was elected chairman of the North Carolina Republican Party. He completed the term of former Raleigh mayor Tom Fetzer, who decided to leave the post before his term expired.<mask> then served a full two-year term, and after the Republicans' successful 2012 election, he chose not to run for another term in 2013. In 2016, state Republicans removed their chairman, Hasan Harnett, and elected <mask> to return to the position. Bribery charge

On March 18, 2019, a federal grand jury in the Western District of North Carolina indicted <mask> on charges of conspiracy to commit honest services wire fraud, bribery, and three counts of making false statements to federal authorities. According to the indictment, <mask> coordinated with businessman Greg Lindberg and two other individuals in an attempt to bribe Mike Causey, the North Carolina Commissioner of Insurance, in exchange for favorable treatment of Lindberg's insurance firm and the dismissal of a deputy insurance commissioner. Lindberg was found guilty and sentenced to seven years in prison. The indictment remained sealed until April 2, when <mask> appeared in court to plead not guilty. The following day he said that he would let other Republicans assume responsibility for managing the North Carolina Republican Party until its officer elections in June.<mask> kept the title of chairman until the new elections. At their annual convention in June, North Carolina Republican Party members elected a new chairman, Michael Whatley. <mask> pleaded guilty to lying to the Federal Bureau of Investigation on October 2, 2019. President Donald Trump pardoned him on January 20, 2021. References

External links
<mask> for Congress official campaign site

Profile at SourceWatch

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1945 births
20th-century American politicians
21st-century American politicians
American Presbyterians
Candidates in the 1996 United States elections
Duke University alumni
Living people
Members of the North Carolina House of Representatives
Members of the United States House of Representatives from North Carolina
North Carolina city council members
North Carolina Republicans
People from Concord, North Carolina
Recipients of American presidential pardons
Republican Party members of the United States House of Representatives
State political party chairs of North Carolina
North Carolina politicians convicted of crimes

masks:
Robin
Hayes
Hayes
Hayes
Hayes
Hayes
Robert Griffith Hayes Jr
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
Hayes
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Robin Hayes


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<mask> (born March 11, 1956) is a former American broadcaster who worked for many years as a television News presenter and reporter in Chicago. Early life and education
A native of Minnesota, <mask> majored in  journalism at the University of Minnesota, but left before earning his degree. Professional career
<mask> began his career working for Greenpeace International. He was featured in Rolling Stone magazine in November, 1981, for his efforts as a lead organizer of the largest anti-nuclear protest in U.S. history to stop the opening of the Diablo Canyon nuclear power plant in California. The report featured <mask>’s approach to maximizing media attention to environmental activism as well as his arrest on conspiracy charges for his role in the protest. The charges were later dropped. In 1983 he began his journalistic career as a freelance photographer in Honduras, Nicaragua and El Salvador, working for UPI with occasional assignments from Time Magazine.He then worked as a television reporter and presenter for WDIO-TV in Duluth from 1984 until 1985, WFTV-TV in Orlando from 1985 until 1988, and KCRA-TV in Sacramento from 1988 until 1992. He also traveled through Croatia in November 1992 and taped the fighting in that country on his home video camera, winning an Emmy Award in the San Francisco/Northern California region. In total he covered wars as a freelance reporter in Nicaragua, El Salvador and Honduras and later in Colombia for KCRA-TV(NBC) as well as Croatia, Bosnia and Serbia for KCRA and for WBBM-TV and WFLD-TV in Chicago. On 24 February 1992 he joined WBBM-TV in Chicago as a general assignment reporter. He won two more Emmys in the Chicago/Midwest region for reports from Bosnia. In 1994 his efforts were documented in the French film The Troubles We've Seen - A History of Journalism in Wartime, by Academy Award-winning director Marcel Ophüls. The film received the International Critics' Award at the Montreal World Film Festival.In September 1995 <mask> left WBBM-TV after choosing not to accept a contract renewal. In late October 1995 he was hired by WFLD-TV in Chicago as a 6 am news presenter, which also included providing special reports for the station's 9 pm newscast. The following year he became news presenter for WFLD's 7 am to 9 am newscast also. In 1996 <mask> made a cameo appearance in the movie Primal Fear as a location reporter. In August 1997 <mask> and his wife, TV presenter/reporter Sylvia Gomez, left WFLD to travel the world together. They traveled to Yugoslavia, England, France, Italy, India, Thailand, China, Panama, Peru and Mexico, logging more than 30,000 miles over a five-year period. Nine months were spent sailing from San Francisco, into the Sea of Cortez off Baja Mexico, ending up in Puerto Vallarta, where they purchased a seaside villa.After their first child was born in 2002 the couple received an offer from NBC News and settled down in Los Angeles and began working again as national correspondents. In 2003 <mask> and Gomez returned to Chicago's airwaves, rejoining WBBM-TV on 30 June 2003 as husband-and-wife weekend news presenters and general assignment reporters. <mask> won his fourth Emmy covering the tsunami in 2005 reporting from Banda Aceh, Indonesia. In January 2006 <mask> and Gomez were moved from their weekend news anchoring duties to full-time general assignment reporting duties. <mask> was a returning guest lecturer on Journalism and Media Issues at Columbia College in Chicago, as well as at Northwestern University's Medill School of Journalism. He served as Master of Ceremonies for the University of Chicago Hospitals Cancer Survivors Day event for three consecutive years. The events were headed by Michelle Obama, at the time VP of Marketing for U of C Hospitals.The couple left WBBM-TV at the end of 2006 and moved to their home in Mexico. In 2007 <mask> was named the public relations chief of a Mexican importer/exporter and national distributor of microbrewed craft beer. Since January 2007 <mask> and Gomez have been running Aviana Productions, a video/strategic media company in the San Francisco Bay Area and Mexico. In March 2009 <mask> was invited to the West Wing of the White House and discussed how the Obama Administration could use viral video and social media to promote its political image and agenda. In 2010 the couple produced a campaign film and served as advisors for Mario Lopez Valdez, the sitting federal senator from Sinaloa, Mexico, in his campaign for governor there. In a surprise upset, Lopez Valdez won the election. In July 2010 <mask> and Gomez, through Aviana Productions, won a North American Aegis Award for a marketing film produced with golfing legend Jack Nicklaus.At year's end the couple won two more Aegis Awards for films produced for the luxury Mexican resorts Palmasola, and Imanta Resorts, both located near Puerto Vallarta. Aviana’s clients have included Accel Partners, Atlassian, Intel Corp., Deloitte, Greg Norman, Punta Mita, and Stanford University, among others. <mask> and Gomez broadened their company to include coaching C-Suite executives for public presentations, TEDTalks and IPO tours. Since its inception, Aviana Productions has garnered 40 communications awards. <mask> has continued lecturing on media issues at various locales including the Mita Tech Talks in Punta Mita, Mexico as well as at Stanford University Law School. He was featured with his wife, Sylvia, on the Sirius XM satellite radio show, Launch Pad in 2018, sponsored by the Wharton School of Business. Personal
In 1992, <mask> began dating Chicago TV reporter Sylvia Gomez.The couple was engaged early in 1995, and married on October 13, 1995 in a ceremony presided over by Cook County Clerk and former Chicago Mayor David Orr. Their first child, Ian Gomez <mask>, was born in June 2002. The couple have homes in California and in Puerto Vallarta, Mexico. References

External links

1956 births
Living people
University of Minnesota School of Journalism and Mass Communication alumni
American broadcasters
People from Minnesota

masks:
Jon Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson
Duncanson