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<mask> (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet <mask>. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J<mask>, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies. Life
<mask> was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. <mask> lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello. In 1895, <mask> <mask>'s first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence <mask>. <mask> <mask>'s work in The Woman's Era captured Paul Laurence <mask>'s attention.On April 17, 1895, Paul Laurence <mask> sent <mask> a letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked <mask> about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, <mask>'s opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters. Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told <mask> that she kept him from "yielding to temptations", a clear reference to sexual liaisons.In a letter from March 6, 1896, Paul attempted to instigate jealousy in <mask> by talking about a woman he had met in Paris. However, <mask> failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, <mask> ended up moving to Washington, DC to join Paul Laurence <mask> and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by <mask>'s declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped <mask>, which he later blamed on his alcoholism. <mask> would later forgive him for this behavior. Paul would often beat <mask>, which was public knowledge.In a later message to <mask>'s earliest biographer, <mask> said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before <mask>'s death in 1906. <mask> then moved to Wilmington, Delaware and taught at Howard High School for more than a decade.During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took a leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908. In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce. In 1916 she married the poet and civil rights activist Robert J<mask>. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, <mask> traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. <mask> also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter. Early activism

At a young age, <mask> <mask> became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club.She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. <mask>'s work with the paper marked the beginning of her career as a journalist and an activist. <mask> was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense.In 1924, <mask> campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, <mask> worked in various ways to foster  political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants." Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker and Entertainer, a literary anthology for a black audience. <mask>-<mask> supported America's involvement in World War I; she saw the war as a means to ending racial violence in America.She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", <mask> writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, <mask> wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display <mask>'s belief that racial equality could be achieved through military service and sacrificing one's self to their nation. From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years.Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, <mask> was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of Principal Ray Wooten. Wooten states that <mask> was removed for "political activity" and incompatibility.Despite the backing of the Board of Education's Conwell Banton, who opposed <mask>'s firing, <mask> decided not to return to Howard High School. In 1928, <mask> became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, <mask> also spoke on The American Negro Labor Congress Forum in Philadelphia. <mask>'s topic was Inter-Racial Peace and its Relation to Labor. <mask> also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930. Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined.She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware. Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.Rhetorical context
The rhetorical context of <mask>-<mask>'s writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" <mask> explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. <mask>'s writings express her belief of equality between the races and between men and women. She believed that African Americans should  have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights.Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J<mask> who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, <mask> became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion. Much of <mask>'s writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the difficulties she faced growing up mixed-race in Louisiana.She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of <mask>'s writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable.She was able to publish her writing, however, when the themes of racism and oppression were more subtle. Summary section
"I Sit and Sew" by <mask>-<mask> is a three stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help.The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem. Works
  Violets and Other Tales , Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed. ), Daughters of Africa, 1992, pp.161–163.) The Goodness of St. Rocque and Other Stories  , 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle". "Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes. (As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914. "People of Color in Louisiana", 1917, in Journal of Negro History. Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP). (As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920."The Colored United States", 1924, The Messenger, literary and political magazine in NY
 "From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier. "I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed. ), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927. "As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper. "So It Seems to <mask>-<mask>", 1930, column for the Pittsburgh Courier. Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League. Give Us Each Day: The Diary of <mask>-<mask>'', ed.Gloria T. Hull, New York: Norton, 1984. "Writing, Citizenship, <mask>-<mask>". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244. References

External links

 <mask>-<mask> papers at Special Collections, University of Delaware Library
 About <mask>-<mask>, Department of English, College of LAS, University of Illinois, 1988
 Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of <mask>-<mask>" (online exhibition) at The Rosenbach

1875 births
1935 deaths
American civil rights activists
African-American poets
African-American short story writers
LGBT women
LGBT writers from the United States
LGBT African Americans
LGBT people from Louisiana
Women anthologists
Writers from New Orleans
Writers from Philadelphia
Straight University alumni
Cornell University alumni
American women poets
American women journalists
Delta Sigma Theta members
Harlem Renaissance
African-American women journalists
African-American journalists
American anti-lynching activists
African-American women writers
Activists from Delaware
20th-century American women writers
19th-century American women writers
19th-century American poets
20th-century American poets
20th-century American journalists
19th-century American journalists
African-American suffragists
Editors of Delaware newspapers
Burials at Wilmington and Brandywine Cemetery
20th-century African-American women
20th-century African-American people
19th-century African-American writers

masks:
Alice Dunbar Nelson
Paul Laurence Dunbar
. Nelson
Alice Ruth Moore
Nelson
Alice Dunbar
Nelson
Dunbar
Alice Dunbar
Nelson
Dunbar
Dunbar
Alice
Alice
Alice
Alice
Alice
Alice
Alice
Dunbar
Dunbar
Alice
Alice
Alice
Dunbar
Alice
Paul Dunbar
Alice
. Nelson
Nelson
Nelson
Alice Dunbar
Nelson
Alice
Dunbar Nelson
Dunbar Nelson
Dunbar Nelson
Alice Dunbar
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Nelson
Nelson
Nelson
Nelson
Nelson
Nelson
Nelson
Nelson
Nelson
Nelson
Dunbar Nelson
Alice Dunbar
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Dunbar Nelson
Dunbar Nelson
. Nelson
Alice
Dunbar Nelson
Dunbar Nelson
Alice Dunbar
Nelson
Alice Dunbar
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Alice Dunbar
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Alice Dunbar
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Alice Dunbar
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Alice Dunbar
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<mask> (born March 5, 1948) is an American serial killer and rapist responsible for the murders of 9 women in Manhattan's West Side between 1973 and 1974. The killings were connected only after <mask> was arrested and confessed to them; until then, the deaths were considered to be from natural causes or accidents. In July 1976, he was convicted and sentenced to four life imprisonment terms with a chance of parole. One of his victims was sculptor Eleanor Platt. Biography
<mask> was born on March 5, 1948, in Buffalo, New York. He came from a poor family, who lived in an urban area populated by other impoverished black families. In his teenage years, he became addicted to drugs, and after graduating from the 10th grade, he dropped out of school and began leading a criminal lifestyle.In October 1965, he was arrested for robbery, found guilty and sentenced to 5 years imprisonment, which he served at the Elmira Correctional Facility. After being paroled in the late 1960s, <mask> moved to New York City, where he met Valerie Coleman, whom he married. Due to problems with discipline, he had trouble finding a job, as a result of which he was forced to do odd jobs, periodically committing thefts in the Manhattan area, for which he was imprisoned on several occasions. In 1970, he was arrested on charges of drug possession, was convicted and spent 90 days in jail. Over the next three years, <mask> was arrested three more times on charges of drug possession and theft, but each time, he got off with short prison terms. In early 1972, <mask> and his partner found accommodation at the Park Plaza Hotel in Manhattan's West Side which, at the time, was plagued by poverty and crime. Soon after the move, <mask> cleared himself from his drug addiction and took on a job as a porter.Most of his friends and acquaintances at that time spoke extremely positively of him. Murders
As victims, <mask> chose single women between the ages of 39 and 79, who were smothered with a pillow during robberies, after which he had sex with their corpses. Eight of his nine victims lived at the Park Plaza Hotel. On April 10, 1973, <mask> broke into the hotel room where 39-year-old Theresa Jordan lived, smothering her with a pillow, defiling her corpse and then stealing her valuables. On July 19, in the same manner, he entered the hotel room of 65-year-old Kate Lewisohn, whom he also smothered with a pillow and raped her corpse. On April 24, 1974, <mask> burgled into a hotel room where 60-year-old Mable Hartmeyer lived. The killer strangled the woman, after which he raped her corpse and stole money and valuables from her room.Five days later, on April 29, he entered the hotel room of 79-year-old Yeria Vishnefsky, whom he stabbed and robbed. On June 8, <mask> committed another murder at the Park Plaza Hotel, his victim being 47-year-old Winifred Miller, whom he smothered with a pillow and raped thereafter. A few days later, on June 19, <mask> also strangled 71-year-old Blanche Vincent on the hotel grounds, after which he raped her body. On July 1, he entered the hotel room of 69-year-old Martha Carpenter. He stole money and other valuables, and then proceeded to strangle the elderly woman and rape the body thereafter. The next victim was a famous sculptor - 64-year-old Eleanor Platt, who was found dead in her room at the Park Plaza Hotel on August 30. On September 12, <mask> burgled into one of the apartments in a building located next to the Park Plaza Hotel, where 69-year-old Pauline Spanierman lived.Using his usual tactics, he smothered the victim with a pillow, raped her corpse, and then stole a number of objects of value from her apartment. Arrest
The body of <mask>'s last victim, Spanierman, was discovered on the morning of September 12, 1974 by a maid who had called the police. While investigating her killing, the police interviewed several of her neighbors, as well as several dozen residents of the building where she lived in and nearby occupants of the Park Plaza Hotel. During these interrogations, several witnesses were located. One of them stated that in the early morning, he had noticed a dark-skinned young man who, with a TV in his hands, left the house where the murder took place using the fire escape, and then disappeared on the opposite side of the street. Another witness, a resident of the Park Plaza Hotel, told police that on the morning of that same day, a friend of his, 26-year-old <mask>, came to his room with a request to leave a number of items of material value, including a TV, for safekeeping. After a search of his hotel room, the TV and other items were identified by Spanierman's relatives as hers.Based on the testimonies and evidence, six hours after the body was discovered, <mask> was arrested near the hotel, and was charged with murder and burglary. Once at the police station, <mask>, during the first interrogation, confessed to the murder of Spanierman, as well as 10 other murders. Despite the fact that <mask>'s confessions reflected a great deal of correspondence in the description of details of the victims' appearances, the times and dates of their murders, his claims were questioned, since in most cases, no signs of a struggle or burglary were found at the crime scenes. In order to confirm his testimony, in the following months, the police exhumed the bodies of a number of murdered women so they could examine them and find traces of a homicide, but the test results proved inconclusive. While verifying <mask>'s claims, it was found that two of the women he had confessed to killing were found to be alive. However, 90-year-old Maria Gallino, a resident of the Park Plaza Hotel, told police that she was indeed attacked by a young African-American man on April 4, 1973. Another resident, 74-year-old Sylvia Cohen, said that on August 5, during an attempted robbery, she was beaten into unconsciousness by a young black man.After this information was released to the public, several hundred people organized a rally in front of a nearby police station accusing the police of negligent investigation efforts. They demanded that the New York City mayor, Abraham Beame, should investigate and appropriately punish the officials, as their failure to connect the murders and take precautions led to senseless death. Law enforcement officials would later confirm that they did not suspect a serial killer was operating in the area and were forced to admit that the cases were connected only after <mask>'s arrest. This confession led protestors to claim that the high crime rate in the West Side was a result of the city service's failures to respond on all levels. Despite the fact that in at least four cases, the investigation was unable to establish signs of a violent death due to the rate of decomposition, <mask> was charged with 9 murders and about 40 other crimes, including numerous rapes, burglaries and thefts. On the advice of his lawyer, at the end of 1974, <mask> recanted his confessions and declared that he was insane, on the basis of which his lawyers filed a motion for a psychiatric examination. Trial
Following two psychiatric examinations, <mask> was declared insane, but these decisions were challenged by the prosecutor's office, which filed a motion.It was granted, and in 1975, <mask> was admitted to the Bellevue Hospital for a third exam, which determined that he was sane. He was put on trial in early 1976. After reading out his 182-page long confession and accompanying audio recordings lasting more than 3 hours, on May 25, by a jury verdict, he was found guilty of 9 murders and numerous other charges. On July 6, 1976, he was sentenced to four life imprisonment terms, with a chance of parole. When he received his verdict, <mask> did not react in any way. Aftermath
All the subsequent years of his life, <mask> was housed in various penitentiaries across New York State. In September 1999, he became eligible for parole, but was denied.In September 2017, having spent more than 43 years in prison, <mask> was included in a list of 50 convicted criminals in the state of New York who were in prison for more than 41 years, and still had chance for parole. As of the end of 2020, the 72-year-old <mask> was serving his sentence at the Sullivan Correctional Facility, under the ID number 76A2732. His next parole hearing was scheduled for March 2021. See also
 List of serial killers in the United States

References

1948 births
Living people
20th-century American criminals
American male criminals
Male serial killers
American serial killers
Necrophiles
American people convicted of murder
American people convicted of rape
American people convicted of burglary
American people convicted of theft
American people convicted of robbery
American people convicted of drug offenses
People convicted of murder by New York (state)
Prisoners sentenced to life imprisonment by New York (state)
Prisoners and detainees of New York (state)
Criminals from New York (state)
People from Buffalo, New York

masks:
Calvin Jackson
Jackson
Calvin Jackson
Jackson
Calvin
Jackson
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Calvin Jackson
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Calvin Jackson
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Calvin Jackson
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<mask> (born 25 June 1983) is an Austrian former professional footballer who played as a striker. <mask> was a successful goal-scorer, particularly during his time at Austrian Bundesliga club Red Bull Salzburg, where he scored 75 league goals in 108 matches, including 39 goals in 35 matches in the 2009–10 season. He is the son of <mask>, who won a bronze medal in the women's Javelin event at the 1968 Summer Olympics in Mexico City. Club career

Red Bull Salzburg
<mask> began his career at Admira Wacker in Mödling, Lower Austria. After successful years, he joined Red Bull Salzburg. He was one of the most important players for the team, and in the end of the 2004–05 season, he scored 11 goals in 10 matches. 2008–09 season

<mask> began the 2008–09 season scoring five goals in the first two matches.On 16 November 2008, he became the all-time club leader for goals scored in one season for Salzburg. His 25 goals in less than half a season, surpassed previous record-holder Oliver Bierhoff, who scored 23 during the 1990–91 season. <mask> continued his scoring streak with a four-goal performance against league rival Altach. On 6 December 2008, he surpassed Toni Polster as the all-time half-season scoring champion by scoring 30 goals in 20 matches. <mask> scored five hat tricks in the league during the season, including a four-goal performance after coming on as a second-half substitute against SCR Altach in a 4–3 victory. In total, he scored 39 goals (plus 9 assists) in 34 matches as Red Bull Salzburg won the league. Due to his 39 goals scored in the 2008–09 season, he became the topscorer in all European leagues during the year.His success caught the attention of several English Premier League clubs and Celtic. However, he signed a new contract with Red Bull on 30 January 2009, which would have kept him in Salzburg until June 2013. 2009–10 season
Though there were rumors and speculation that <mask> would sign with a different club, he stayed with the Red Bulls. In 21 matches that season, <mask> scored 12 goals which currently put him in second place in the Bundesliga behind teammate Roman Wallner. His best performances were a four-goal effort against FC Kärnten on 4 October, and a pair of goals scored against Josko Ried on 13 February 2010. <mask> was also an integral part of the Salzburg team that enjoyed success in its pool play in the UEFA Europa League. He had a strong performance against Standard Liège on 19 February 2010, scoring his side's two goals in a 3–2 loss in the first tie of the round of 32.Twente
<mask> signed a four-year contract with Dutch club Twente on 21 June 2010 and was given the number 21 shirt, previously worn by fellow Austrian Marko Arnautović. Twente paid Red Bull €7 million for <mask>'s signature. 2010–11 season

<mask> scored his first goal for his new club on 21 August 2010, his side's first in a 3–0 win over Vitesse in the third match of the Eredivisie season. In the club's next Eredivise match, <mask> scored a brace and notched an assist as Twente defeated Utrecht 4–0. <mask> scored four goals for Twente in a 5–0 rout of Heracles on 19 January 2011, while also providing an assist for Luuk de Jong's goal. On 23 January, he scored both goals for Twente as they came from a goal down to defeat Groningen. On 8 May 2011, <mask> scored the winning goal of the 2011 KNVB Cup final against Ajax in the 117th minute to seal a 3–2 victory.2011–12 season
In the 2011 Johan Cruyff Shield on 30 July 2011, <mask> scored from the penalty-spot as Twente defeated reigning Eredivisie champions Ajax 2–1 to lift the cup. In the first match of the 2011–12 Eredivisie season, <mask> scored the match's only goal as Twente defeated NAC Breda. <mask> scored twice on 28 August, scoring Twente's third and fifth goals as they defeated Heerenveen 5–1. On 29 September, he scored twice to lead Twente to a first victory in the UEFA Europa League, a comfortable 4–1 win over Wisła Kraków. On 15 October, <mask> scored a hat-trick as Twente defeated RKC Waalwijk 4–0 in an Eredivisie match. On 1 December, he scored a goal in the final minute of normal time as Twente defeated Fulham 1–0 to secure first place in Group K of the UEFA Europa League group stage. Porto
On 30 January 2012, it was announced that <mask> would sign for Porto.On 31 January, <mask> was officially unveiled as a Porto player and was given the number 29 shirt, joining in a €3 million move and signing a contract until June 2015. On 5 February, he scored his first goal for Porto against Vitória de Setúbal in the Taça de Portugal, a 2–0 win. Trabzonspor
On 28 August 2012, after just half a year at Porto, <mask> signed for Turkish club Trabzonspor for a €2.4 million transfer fee. He made his debut for the club five days later, coming on for Paulo Henrique in the second half of a 0–1 loss to Gaziantepspor. <mask> finally scored his first goal for Trabzonspor on 19 November, opening the scoring for the club in their 2–1 victory over Orduspor. <mask> scored his first goal of the 2013–14 season on 24 October 2013, scoring Trabzonspor's goal in a 2–0 victory over Legia Warsaw in the UEFA Europa League group stage. On 4 December, he scored against Balıkesirspor in the fourth round of the Turkish Cup, but the goal was not enough as Trabzonspor fell to a 1–3 defeat.He scored just his second league goal during his time in Turkey on 23 February 2014, scoring the match winner against Kayserispor. At the end of the season, <mask> was released from his contract, allowing the forward to move to a new club on a free transfer. Sydney FC
On 31 July 2014, <mask> was announced as Sydney FC's new marquee signing for the 2014–15 A-League season, on a one-year deal, meaning his wages were permitted to be paid outside the league's salary cap. On 30 August, he scored his first goal for Sydney during the final of the inaugural Townsville Football Cup in a 2–0 win against Brisbane Roar. On 24 October, he scored his first A-League goal, against Brisbane Roar in a 2–0 victory. His 35-yard shot bounced into the top left corner to give Sydney a 1–0 lead. <mask> scored his next two goals in the form of a brace against Melbourne City, after having turned down the opportunity to play for the Austria national team against Brazil.He scored another two goals in Sydney's 5–1 rout of Central Coast Mariners on 24 January 2015. <mask> was awarded the Professional Footballers Australia Player of the Month for February following a run of six goals in four matches during the month. <mask> scored his first hat-trick for Sydney in their 5–4 win against Brisbane Roar on matchday 21 at Allianz Stadium in rather inclement conditions. His hat-trick also saw him become Sydney's highest season goalscorer with 16 goals (previously held by Alessandro Del Piero during the 2012–13 A-League season with 14). In addition, <mask> became the first ever player to score in seven consecutive matches, the previous record being held by ex-Brisbane Roar player Besart Berisha with six. On 26 May 2015 it was announced that <mask> would be leaving Sydney due to difficulties with attending league matches and international duty. Basel
On 25 June 2015, <mask> joined Swiss side Basel on a free transfer, signing a one-year deal.He played his debut for Basel on 25 July 2015 in the away match at the Letzigrund against Grasshopper; he also scored his first goal for Basel in the match, which ended 3–2 for his side. Under trainer Urs Fischer, <mask> won the Swiss Super League championship at the end of the 2015–16 and 2016–17 Super League season. It was Basel's eighth-straight title and 20th overall. Sparta Prague
On 6 June 2017, <mask> signed a two-year contract with Czech club Sparta Prague. Lugano
On 6 February 2018, <mask> signed a contract with Swiss club FC Lugano. International career

<mask> made his debut for Austria in a May 2006 friendly match against Croatia and earned his second cap in October that year against Liechtenstein. In 2009, he scored one of Austria's two goals against Lithuania on 10 October 2009.Four days later, he scored Austria's lone goal against France. He represented the national team at 2016 UEFA Euro. Career statistics

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International goals
Scores and results list Austria's goal tally first.

masks:
Marc Janko
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Eva Janko
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<mask> (January 6, 1924 – March 28, 2012) was an American musician noted for popularizing a three-finger banjo picking style, now called "Scruggs style", which is a defining characteristic of bluegrass music. His three-finger style of playing was radically different from the traditional way the five-string banjo had previously been played. This new style of playing became popular and elevated the banjo from its previous role as a background rhythm instrument to featured solo status. He popularized the instrument across several genres of music. <mask>' career began at age 21 when he was hired to play in Bill Monroe's band, the Blue Grass Boys. The name "bluegrass" eventually became the eponym for the entire genre of country music now known by that title. Despite considerable success with Monroe, performing on the Grand Ole Opry and recording classic hits such as "Blue Moon of Kentucky", <mask> resigned from the group in 1946 due to their exhausting touring schedule.Fellow band member Lester Flatt resigned as well, and he and Scruggs later paired up in a new group they called Flatt and Scruggs and the Foggy Mountain Boys. Scruggs' banjo instrumental called "Foggy Mountain Breakdown", released in 1949, became an enduring hit, and had a rebirth of popularity to a younger generation when it was featured in the 1967 film Bonnie and Clyde. The song won two Grammy Awards and, in 2005, was selected for the Library of Congress' National Recording Registry of works of unusual merit. Flatt and Scruggs brought bluegrass music into mainstream popularity in the early 1960s with their country hit, "The Ballad of Jed Clampett"—the theme music for the television sitcom The Beverly Hillbillies—the first Scruggs recording to reach number one on the Billboard charts. Over their 20-year association, Flatt and Scruggs recorded over 50 albums and 75 singles. The duo broke up in 1969, chiefly because, while Scruggs wanted to switch styles to fit a more modern sound, Flatt was a traditionalist who opposed the change and believed doing so would alienate a fan base of bluegrass purists. Although each of them formed a new band to match their visions, neither of them ever regained the success they had achieved as a team.<mask> received four Grammy awards, a Grammy Lifetime Achievement Award and a National Medal of Arts. He became a member of the International Bluegrass Music Hall of Fame and was given a star on the Hollywood Walk of Fame. In 1985, Flatt and <mask> were inducted together into the Country Music Hall of Fame and named, as a duo, number 24 on CMT's "40 Greatest Men of Country Music". <mask> was awarded a National Heritage Fellowship by the National Endowment for the Arts, the highest honor in the folk and traditional arts in the United States. Four works by <mask> have been placed in the Grammy Hall of Fame. After <mask>' death in 2012 at age 88, the <mask>gs Center was founded  in Shelby, North Carolina, near his birthplace with the aid of a federal grant and corporate donors. The center is a $5.5 million facility that features the musical contributions of Scruggs and serves as an educational center providing classes and field trips for students.Early life

<mask> was born January 6, 1924, in the Flint Hill community of Cleveland County, North Carolina, a small community just outside of Boiling Springs, about 10 miles west of Shelby. His father, George Elam <mask>, was a farmer and a bookkeeper who died of a protracted illness when <mask> was four years old. Upon his death, <mask>' mother, Georgia Lula Ruppe (called Lula), was left to take care of the farm and five children, of which <mask> was the youngest. The family members all played music. The father played an open back banjo using the frailing technique, though as an adult <mask> had no recollection of his father's playing. Mrs. <mask> played the pump organ. <mask>'s siblings, older brothers Junie and Horace and older sisters Eula Mae and Ruby, all played banjo and guitar.<mask> recalled a visit to his uncle's home at age six to hear a blind banjo player named Mack Woolbright, who played a finger-picking style and had recorded for Columbia Records. It made an impression on Scruggs, who said, "He'd sit in the rocking chair, and he'd pick some and it was just amazing. I couldn't imagine—he was the first, what I call a good banjo player." <mask> then took up the instrument—he was too small to hold it at first and improvised by setting his brother Junie's banjo beside him on the floor. He moved it around depending on what part of the neck he was playing. After his father's death, Scruggs seemed to take solace in playing music, and when not in school or doing farm chores, spent nearly every spare moment he had practicing. His first radio performance was at age 11 on a talent scout show.Development

Scruggs is noted for popularizing a three-finger banjo-picking style now called "Scruggs style" that has become a defining characteristic of bluegrass music. Prior to Scruggs, most banjo players used the frailing or clawhammer technique, which consists of holding the fingers bent like a claw and moving the entire hand in a downward motion so that the strings are struck with the back of the middle fingernail. This motion is followed by striking the thumb on a single string. The three-finger style of playing is radically different from frailing; the hand remains stationary and only the fingers and thumb move, somewhat similar to classical guitar technique. Scruggs style also involves using picks on three digits (see photo), each plucking individual strings—downward with the thumb, then upward with the index and middle finger in sequence. When done skillfully and in rapid sequence, the style allows any digit (though usually the thumb) to play a melody, while the other two digits play arpeggios of the melody line. The use of picks gives each note a louder percussive attack, creating an exciting effect, described by The New York Times as "like thumbtacks plinking rhythmically on a tin roof".This departure from traditional playing elevated the banjo to become more of a solo instrument—a promotion from its former role of providing background rhythm or serving as a comedian's prop—and popularized the instrument in several genres of music. <mask> did not invent three-finger banjo playing; in fact, he said the three-finger style was the most common way to play the five-string banjo in his hometown in western North Carolina. An early influence was a local banjoist, DeWitt "Snuffy" Jenkins, who plucked in a finger style. According to banjoist and historian Tony Trischka, "Jenkins came about as close as one could to Scruggs style without actually playing it". At age ten, when Scruggs first learned the technique, he recalled that he was at home in his room after a quarrel with his brother. He was idly playing a song called "Reuben" and suddenly realized that he was playing with three fingers, not two. "That excited me to no end", he later recalled, and said he ran through the house repeatedly yelling "I've got it".From there he devoted all his free time to perfecting his timing and to adding syncopation and variations to it. Controversy exists as to the actual origin of three-finger picking style. Don Reno, an eminent banjo player who also played this style and who knew <mask> at that young age, described Scruggs' early playing as similar to that of Snuffy Jenkins. <mask>, however, consistently referred to it as his own, saying that he adapted to it "a syncopated roll that was quite different." On the subject, John Hartford said, "Here's the way I feel about it. Everybody's all worried about who invented the style and it's obvious that three finger banjo pickers have been around a long time—maybe since 1840. But it's my feeling that if it wasn't for <mask>, you wouldn't be worried about who invented it."With Bill Monroe and the Blue Grass Boys
At age 15, <mask> played in a group called The Morris Brothers for a few months, but quit to work in a factory making sewing thread in the Lily Textile Mill near his home in North Carolina. He worked there about two years, earning 40 cents an hour, until the draft restriction for World War II was lifted in 1945, at which time he returned to music, performing with "Lost John Miller and his Allied Kentuckians" on WNOX in Knoxville. About this time an opening to play with Bill Monroe became available. Bill Monroe, 13 years older than <mask>, was prominent in country music at the time. His career started with the "Monroe Brothers", a duo with his brother Charlie. Bill sang the high tenor harmony parts, a sound called "high lonesome", for which he became noted. The brothers split up in 1938 and Bill, a native of "the Bluegrass State" of Kentucky, formed a new group called Bill Monroe and the Blue Grass Boys.They first played on the Opry in 1939 and soon became a popular touring band featuring a vocalist named Lester Flatt. The name "bluegrass" stuck and eventually became the eponym for this entire genre of country music and Monroe became known as "the father of bluegrass". When <mask> was 21, Monroe was looking for a banjo player for his group, because David "Stringbean" Akeman was quitting. At the time, banjo players often functioned in the band as comedians, and the instrument was often held as a prop—their clawhammer playing was almost inaudible. Monroe, along with band member Lester Flatt, auditioned several banjo players who had the same traditional playing style as Akeman. When <mask> auditioned for them at the Tulane Hotel in Nashville, Flatt said," I was thrilled. It was so different!I had never heard that kind of banjo picking." <mask> joined Monroe in late 1945, earning $50 a week. After they accepted <mask> as one of the Blue Grass Boys, the roster consisted of Bill Monroe (vocals/mandolin), Lester Flatt (guitar/vocals), <mask> (banjo), Chubby Wise (fiddle), and Howard Watts (stage name Cedric Rainwater) on bass. This group of men became the prototype of what a bluegrass band would become. With Monroe and Lester Flatt, Scruggs performed on the Grand Ole Opry and in September 1946 recorded the classic hit "Blue Moon of Kentucky"; a song that was designated by the Library of Congress to be added to the National Recording Registry, and later added to the Grammy Hall of Fame. The work schedule was heavy in Monroe's band. They were playing a lot of jobs in movie theaters all over the south, riding in a 1941 Chevrolet from town to town, doing up to six shows a day and not finishing up until about eleven at night.Lester Flatt said, "It wasn't anything to ride two or three days in a car. We didn't have buses like we do now, and we never had our shoes off". The self-imposed rule was to always get back in time to play the Grand Ole Opry in Nashville each Saturday night. <mask> said of Monroe that "Bill would never let the music go down no matter how tired we were. If a man would slack off, he would move over and get that mandolin up close on him and get him back up there". Despite the group's success, <mask> decided the demands were too great. He was single at the time, and the brief few hours on Saturdays that he made it home, it was just to pack his suitcase at the Tulane Hotel where he lived alone, then repeat the cycle—he had done this for two years.He turned in his resignation, planning to go take care of his mother in North Carolina. Flatt had also made up his mind to leave, but he had not told anyone. He later gave his two-week notice, but, before the notice was up, the bass player Howard Watts announced that he was leaving too. Despite Monroe's pleading, they left the band. Monroe thought Flatt and Scruggs had a secret understanding, but both men denied it. Monroe did not speak to either one for 20 years thereafter, a feud well known in country music circles. Flatt and Scruggs
In 1948 Lester Flatt and <mask> formed "Flatt and Scruggs and the Foggy Mountain Boys"—the name came from a song by the Carter Family called "Foggy Mountain Top" that the band used as a theme song at the time.Flatt later acknowledged that they consciously tried to make their sound different from Monroe's group. In the mid 1950s they dropped the mandolin and added a Dobro, played by Buck "Uncle Josh" Graves. In the spring of 1949, their second Mercury recording session yielded the classic "Foggy Mountain Breakdown", released on 78 RPM phonograph records that were in use at the time. Previously, Scruggs had performed something similar, called "Bluegrass Breakdown" with Bill Monroe, but Monroe had denied him songwriting credit for it. Later, Scruggs changed the song, adding a minor chord, thus creating "Foggy Mountain Breakdown" The song contains a musical oddity—Flatt plays an E major chord against Scruggs's E minor. When asked about the dissonance years later, Scruggs said he had tried to get Flatt to consistently play a minor there to no avail; he said he eventually became used to the sound and even fond of it. The song won a Grammy and became an anthem for many banjo players to attempt to master.The band routinely tuned its instruments a half-step higher than standard tuning in those days to get more brightness or pop to the sound, returning to standard pitch in the 1960s. The popularity of Foggy Mountain Breakdown resurged years later when it was featured in the 1967 film Bonnie and Clyde, which introduced the song to a younger generation of fans. <mask> received a phone call from the show's producer and star, Warren Beatty, first asking <mask> to write a song for the movie. Soon Beatty called back saying that he wanted to use the existing vintage Mercury recording of Foggy Mountain Breakdown, and rejected the argument that it was recorded 18 years prior at a radio station with no modern enhancements. The film was a hit, called by the Los Angeles Times "a landmark film that helped usher in a new era in American filmmaking." In 2005, the song was selected for the Library of Congress's National Recording Registry of works of unusual merit. In October 1951, the band recorded "Earl's Breakdown" which featured a technique where Scruggs would manually de-tune the second and third strings of the banjo during a song using a cam device he had made to attach to the instrument, giving the surprise effect of a downward string bend.He and his brother Horace had experimented with it when they were growing up. Scruggs had drilled some holes in the peghead of his banjo to install the device and chipped the pearl inlay. He covered the holes with a piece of metal, which can be seen on the album cover of Foggy Mountain Jamboree. The technique became popular and led to improvement of the design (without drilling holes) by Bill Keith who then manufactured Scruggs-Keith Tuners. The original tuners Scruggs made and used are now in a museum display at the Earl Scruggs Center in Shelby, North Carolina. In 1953, Martha White Foods sponsored the band's regular early morning radio shows on WSM in Nashville, where the duo sang the company's catchy bluegrass jingle written by Pat Twitty. About this time, country music television shows, on which Flatt and Scruggs appeared regularly, went into syndication, vastly increasing the group's exposure.Despite the group's increasing popularity and fan mail, WSM did not allow Flatt and Scruggs to become members of the Grand Ole Opry at first. According to Tennessean writer Peter Cooper, Bill Monroe was in opposition and worked behind the scenes to keep Flatt and Scruggs off the Opry to the extent of having petitions made against their membership. In 1955 Martha White Foods' CEO Cohen E. Williams intervened by threatening to pull all of his advertising from WSM unless the band appeared on the Opry in the segment sponsored by his company. As years went by, the band became synonymous with Martha White to the extent that the advertising jingle became a hit, and the band rarely played a concert without it. Fans shouted requests for them to play it, even at Carnegie Hall. On September 24, 1962, the duo recorded "The Ballad of Jed Clampett" for the TV show The Beverly Hillbillies. Sung by Jerry Scoggins, the theme song became an immediate country music hit and was played at the beginning and end of each episode of the series.The song went to #1 on the Billboard country chart, a first for any bluegrass recording. The song spent 20 weeks on that chart; it also reached #44 on Billboard's pop chart. The television show was also a huge hit, broadcast in 76 countries around the world. In Queens, New York a five year old boy named Béla Fleck heard the Jed Clampett theme on television. Fleck said, "I couldn't breathe or think; I was completely mesmerized." He said it awakened a deeply embedded predisposition that "was just in there" to learn how to play the banjo. Flatt and Scruggs appeared in several episodes as family friends of the fictional Clampetts.In their first appearance (season 1, episode 20), they portray themselves in the show and perform both the theme song and "Pearl, Pearl, Pearl". That song went to #8 on the country chart in 1963. Scruggs published an instruction book entitled "Earl Scruggs and the Five String Banjo" in 1968. It received a Gold Book Award by the publisher, Peer-Southern Corporation when it sold over a million copies. Over their 20-year association, Flatt and Scruggs recorded over 50 albums and 75 single records and featured over 20 different musicians as "Foggy Mountain Boys"—side men backing the duo. By the end of the 1960s,

masks:
Earl Eugene Scruggs
Scruggs
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Earlrug
Earl Scruggs
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 Scruggs was getting bored with repetition of the classic bluegrass fare. By now, his sons were professional musicians, and he was caught up in their enthusiasm for more contemporary music.He said, "I love bluegrass music, and still like to play it, but I do like to mix in some other music for my own personal satisfaction, because if I don't, I can get a little bogged down and a little depressed". Scruggs also wanted to play concerts in venues that normally featured rock and roll acts. Columbia Records executives told Flatt and <mask> that they intended to try a new producer, Bob Johnston, instead of their long-time producer Don Law. Johnston had produced Bob Dylan's records. This new association produced Changin' Times, Nashville Airplane, and The Story of Bonnie and Clyde albums. Flatt was not happy with some of this material—he didn't like singing Bob Dylan songs and refused to perform them, saying "I can't sing Bob Dylan stuff, I mean. Columbia has got Bob Dylan, why did they want me?".Even the success of the Bonnie and Clyde album was not enough to prevent their breakup in 1969. After the split, Flatt formed a traditional bluegrass group with Curly Seckler and Marty Stuart called The Nashville Grass, and <mask> formed the <mask>gs Revue with his sons. Neither Flatt nor <mask> spoke to each other for the next ten years—until 1979 when Flatt was in the hospital. <mask> made an unannounced visit to his bedside. The two men talked for more than an hour. Even though Flatt's voice was barely above a whisper, he spoke of a reunion. Scruggs answered yes, but told Flatt they would talk when he was better.Flatt said, "It came as quite a surprise and made me feel good." However, Lester Flatt never recovered, and died May 11, 1979. Historian Barry Willis, speaking of the meeting, said "<mask> gave Lester his flowers while he was still living." (He was referring to a 1957 Flatt and Scruggs recording of "Give Me My Flowers While I'm Still Living".) <mask> Revue
In early 1969, <mask> formed the <mask> Revue, consisting of two of his sons, Randy (guitar) and Gary (bass) and later Vassar Clements (fiddle), Josh Graves (Dobro) and Scruggs' youngest son, Steve (drums). On November 15, 1969, Scruggs performed live with the newly formed group on an open-air stage in Washington, D.C. at the Moratorium to End the War in Vietnam. Scruggs was one of the few bluegrass or country artists to give support to the anti-war movement.The <mask>gs Revue gained popularity on college campuses, live shows and festivals and appeared on the bill with acts like Steppenwolf, The Byrds and James Taylor. They recorded for Columbia Records and made frequent network television appearances though the 1970s. Their album I Saw the Light with a Little Help from my Friends featured Linda Ronstadt, Arlo Guthrie, Tracy Nelson, and the Nitty Gritty Dirt Band. This collaboration sparked enthusiasm by the latter to make the album Will the Circle be Unbroken. <mask> and <mask> made phone calls to eminent country stars like Roy Acuff and "Mother" Maybelle Carter to get them to participate in this project to bring a unique combination of older players with young ones. Bill Monroe refused to participate saying he had to remain true to the style he pioneered, and this "is not bluegrass" The album became a classic, and was selected for the Library of Congress' National Recording Registry of works of unusual merit. <mask> had to retire from the road in 1980 due to back problems, but the <mask>gs Revue did not part ways until 1982.Despite the group's commercial success, they were never embraced by bluegrass or country music purists. Scruggs remained active musically and released The Storyteller and the Banjoman with Tom T. Hall in 1982, and a compilation album Top of the World in 1983. In 1994, Scruggs teamed up with <mask> and Doc Watson to contribute the song "Keep on the Sunny Side" to the AIDS benefit album Red Hot + Country. In 2001, Scruggs broke a 17-year personal album hiatus with the album <mask>gs and Friends, featuring Elton John, Sting, Don Henley, Johnny Cash, Dwight Yoakam, Billy Bob Thornton, and Steve Martin. It includes the song "Passin' Thru", written by Johnny Cash and <mask>. He also released a live album The Three Pickers with Doc Watson and Ricky Skaggs, recorded in Winston-Salem in December, 2002. Awards and honors
In 1989, Scruggs was awarded a National Heritage Fellowship given by the National Endowment for the Arts, the highest honor in the folk and traditional arts in the United States.Flatt and <mask> were inducted together into the Country Music Hall of Fame in 1985. <mask> was an inaugural inductee into the International Bluegrass Music Hall of Fame in 1991 and into the North Carolina Music Hall of Fame in 2009. In 1992, he was one of 13 recipients to be awarded the National Medal of Arts. The award is authorized by Congress for outstanding contributions to the arts in the United States and presented by the President of the United States. Flatt and <mask> won a Grammy Award in 1968 for <mask>' instrumental "Foggy Mountain Breakdown". Scruggs won a second Grammy in 2001 for the same song featuring artists Steve Martin, Vince Gill, Albert Lee, Paul Shaffer, Leon Russell, Marty Stuart, Jerry Douglas, Glen Duncan and <mask>' two oldest sons, Randy and Gary. He totaled four Grammy awards over his career and in 2008 received the Lifetime Achievement Award at the 50th Annual Grammy Awards.On February 13, 2003, <mask> received a star on the Hollywood Walk of Fame. That same year, he and Flatt were ranked No. 24 on CMT's 40 Greatest Men of Country Music. In 2005, <mask> was awarded an honorary doctorate from Boston's Berklee College of Music. In January 1973, a tribute concert honoring <mask> was held in Manhattan, Kansas featuring artists Joan Baez, David Bromberg, The Byrds, Ramblin' Jack Elliott, Nitty Gritty Dirt Band, and Doc and Merle Watson. The concert was filmed and turned into the 1975 documentary film called Banjoman. It premiered at the John F. Kennedy Center, attended by Tennessee senators Bill Brock and Howard Baker, Ethel Kennedy, and Maria Shriver.<mask> attended the event in a wheelchair, recuperating from a crash of his private plane. The Coen brothers made a reference to The Foggy Mountain Boys in the 2000 film, Oh Brother, Where Art Thou?, by naming the movie band "The Soggy Bottom Boys"
On September 13, 2006, <mask> was honored at Turner Field in Atlanta as part of the pre-game show for an Atlanta Braves home game. Organizers won a listing in "The Guinness Book of World Records" for the most banjo players (239) playing one tune together (<mask>'s "Foggy Mountain Breakdown"). The pickers formed two groups, one on each side of home plate, and a video tribute to Scruggs's life was shown. Four works by Scruggs have been placed in the Grammy Hall of Fame: "Foggy Mountain Breakdown" (single, inducted 1999); Foggy Mountain Jamboree, (album, inducted 2012); Foggy Mountain Banjo, (album, inducted 2013); and Bill Monroe's "Blue Moon of Kentucky" (single, inducted 1998) on which Scruggs performed. The award was established by The Recording Academy in 1973 to honor works at least 25 years old that have lasting qualitative or historical significance. The Google Doodle of January 11, 2019 paid homage to Scruggs by featuring a "close-up" animated demonstration of the "Scruggs style".Banjos
In the late 1950s Scruggs met with Bill Nelson, one of the owners of the Vega Musical Instrument Company in Boston, to sign a contract to design and endorse a new banjo to be called "The Earl Scruggs Model". The company had made banjos since before 1912 and already had a Pete Seeger model. There would be four Scruggs models in the top-of-the-line banjos they produced. It was the first time a prominent bluegrass banjo player had played any brand other than a Gibson. Scruggs participated in Vega's marketing campaign that claimed that the banjo was constructed to Scruggs's design specifications, which was true, but the finished product fell short of his expectations. According to Scruggs's friend and fellow banjoist, Curtis McPeake, Scruggs never cared for it. McPeake stated, "They were good banjos, they just wasn't [sic] what <mask> wanted to play."<mask> continued to perform and record using his Gibson Granada. The Vega company was sold to the C.F. Martin company in 1970, and the contract was dissolved. In 1984, Gibson produced what <mask> had wanted—the Gibson "Earl Scruggs Standard", a replica of his personal 1934 Gibson Granada RB Mastertone banjo, number 9584-3. This banjo had been changed over its long existence and the only remaining original parts were the rim, the tone ring and the resonator (the wooden back of the instrument). The banjo was originally gold-plated, but the gold had long-since worn off and had been replaced with nickel hardware. Gibson elected to make the replica model nickel-plated as well, to look like <mask>' own.<mask>' actual 1934 model was previously owned by a series of influential players beginning with Snuffy Jenkins, who bought it for $37.50 at a pawn shop in South Carolina. Jenkins sold it to Don Reno, who sold it to <mask>. When <mask> acquired it, the instrument was in poor condition and he sent it to the Gibson Company for refurbishing, including a new fingerboard, pearl inlays, and a more slender neck. During this time <mask> used his Gibson RB-3 for some of the Mercury recording sessions. Banjo enthusiasts have located the shipping records from Gibson to determine the exact dates the Granada Mastertone was missing on certain recordings. Louise Scruggs

On December 14, 1946, 19-year-old Anne Louise Certain attended the Grand Ole Opry in Nashville. She went backstage after the performance to meet some of the performers, including <mask>, who had been with Bill Monroe's band about a year at that time.Scruggs and Certain began dating and fell in love. They were married about a year and a half later in April 1948. When Flatt and Scruggs formed the new group, Scruggs had done most of the bookings for the band, but being on the road for hours in a car and stopping at a phone booth to communicate with venues, often at odd hours, was difficult. Louise had a business aptitude and began helping by doing the phone work. She eventually became the booking agent and ultimately the group's manager, Nashville's first woman to become prominent in that role. Her acumen and skills in the job were prescient. She turned the band into TV personalities and helped propel them into what today would be called rock stars, touring with Joan Baez and performing at the prestigious Newport Folk Festival.She recruited noted artist Thomas B. Allen, who had done covers for The New Yorker and Sports Illustrated to create cover illustrations for 17 of the group's albums. She helped market the group to younger audiences at college campuses and arranged a live album to be recorded at Carnegie Hall. <mask> said, "What talent I had never would have peaked without her. She helped shape music up as a business, instead of just people out picking and grinning." Louise died from complications of respiratory disease on February 2, 2006 at age 78, predeceasing her husband by six years. In 2007, The Country Music Hall of Fame created The Louise Scruggs Memorial Forum, an annual event to honor a music industry business leader. Personal life
In 1955, Scruggs received word that his mother, Lula, had suffered a stroke and heart attack in North Carolina.The only flight available from Nashville involved such a series of connecting cities that it was not feasible to fly. <mask> and his wife, with sons Gary and Randy, decided to drive all night from Nashville to see her when they were involved in an automobile accident just east of Knoxville about 3 a.m. October 2. Their car was hit by a drunk driver, a Fort Campbell soldier who had pulled out from a side road into their path, then fled the scene after the collision. The children were not hurt, but <mask> suffered a fractured pelvis and dislocations of both hips, which would plague him for years, and Louise had been thrown into the windshield, receiving multiple lacerations. They were flown to a Nashville hospital where <mask> remained hospitalized for about two months. He received thousands of letters from well-wishers. He returned to music in January 1956, about four months after the injury, but after working a week or so, one of the hips collapsed, and he returned to the hospital for a metal hip to be implanted.Seven years later, the other hip required similar surgery. The first metal hip lasted for some 40 years, but eventually failed, requiring a total hip replacement in October 1996, when he was age 72. While still in the recovery room after this hip operation, <mask> suffered a heart attack; he was returned to the operating room later the same day for quintuple coronary bypass surgery. Despite the dire circumstances, he recovered and returned to his musical career. <mask> was involved in a solo plane crash in October 1975. He was flying his 1974 Cessna Skyhawk II aircraft home to Nashville around midnight from a performance of the <mask>ruggs Revue in Murray, Kentucky. On his landing approach he was enveloped in dense fog and overshot the runway at Cornelia Fort Airpark in Nashville and the plane flipped over.The automatic crash alert system in the plane did not function, and <mask> remained without help for five hours. He crawled about 150 feet from the wreckage with a broken ankle, broken nose, and facial lacerations, afraid that the plane might catch fire. His family was driving home from the same concert and was unaware of the crash, but his niece became worried when he did not arrive. She called police at about 4 a.m., and they went to the airport, where they heard <mask>' cries for help from a field near the runway. He recovered, but was in a wheelchair for a few weeks, including for the premiere of the Scruggs documentary Banjoman at the Kennedy Center. <mask>, <mask>'s youngest son, was the drummer for the <mask>ruggs Revue at one point. He died in September 1992 of a self-inflicted gun shot after killing his wife, according to prosecutor Dent Moriss.Middle son <mask>, guitarist and music producer, died after a short illness on April 17, 2018 at the age of 64. Every January for many years, <mask>' birthday was celebrated by a party at his home on Franklin Road in Nashville. After a buffet dinner, guests would gather in the living room for an informal "pickin' party" where some of country music's best known stars would sing and play with no one around but family and close friends. The attendees over the years included Tom T. Hall, Béla Fleck, Travis Tritt, Vince Gill, Tim O'Brien, Emmylou Harris, Mac Wiseman, Marty Stuart, Porter Wagoner, Bill Anderson, Jerry Douglas, Josh Graves and many others. At <mask>' 80th birthday party in 2004, country singer Porter Wagoner said, "<mask> is to the five-string banjo what Babe Ruth was to baseball. He is the best there ever was and the best there ever will be." At age 88, <mask> died from natural causes on the morning of March 28, 2012, in a Nashville hospital.His funeral was held on Sunday, April 1, 2012, at the Ryman Auditorium in Nashville, Tennessee, and was open to the public. He was buried at Spring Hill Cemetery in a private service. The Earl Scruggs Center
The Earl Scruggs Center opened January 11, 2014—a $5.5 million, 100,000 square foot facility located in the court square of Shelby, North Carolina, at the renovated county courthouse. It showcases the musical contributions of <mask>, the most eminent ambassador of the music of that region, and features a museum and a life-sized statue of <mask> at a young age. The center received a $1.5 million economic development grant from the U.S. Department of Commerce and also funds from corporate donors. It serves as an educational center providing classes and field trips for students. The opening was celebrated by a sold-out concert by Vince Gill, Travis Tritt, Sam Bush, and others.Bob Dylan, The Byrds, Bill Monroe, Joan Baez et al.) Private Sessions (2005)
 The Bluegrass Legend (2006)

<mask>, Doc Watson and Ricky Skaggs
 The Three Pickers (2003)

Flatt and Scruggs
 The Best of Flatt and Scruggs TV Show Vol. 1 (2007)
 The Best of Flatt and Scruggs TV Show Vol. 2 (2007)
 The Best of Flatt and Scruggs TV Show Vol. 3 (2007)
 The Best of Flatt and Scruggs TV Show Vol. 4 (2007)
 The Best of Flatt and Scruggs TV Show Vol. 5 (2008)
 The Best of Flatt and Scruggs TV Show Vol.6 (2008)
 The Best of Flatt and Scruggs TV Show Vol. 7 (2009)
 The Best of Flatt and Scruggs TV Show Vol. 8 (2009)
 The Best of Flatt and Scruggs TV Show Vol. 9 (2010)
 The Best of Flatt and Scruggs TV Show Vol. 10 (2010)

References

Further reading
Goldsmith, Thomas. <mask>ruggs and Foggy Mountain Breakdown: The Making of an American Classic. University of Illinois Press, 2019.External links

 Flatt and Scruggs Preservation Society
 <mask>gs Interview NAMM Oral History Library (2004)

1924 births
2012 deaths
Activists from North Carolina
American anti–Vietnam War activists
American country banjoists
Bluegrass musicians from North Carolina
Burials in Tennessee
Country musicians from North Carolina
Foggy Mountain Boys members
Grammy Award winners
Grammy Lifetime Achievement Award winners
Grand Ole Opry members
National Heritage Fellowship winners
People from Cleveland County, North Carolina
United States National Medal of Arts

masks:
Scruggs
Scruggs
Earlrug
Scruggs
Scruggs
Earl
Earl Scruggs
Scruggs
Earl Scruggs
Earl Scrug
Earl
Louise Scruggs
Scruggs
Earl Scrug
Randy Scruggs
Earl Scrug
Randy Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Earl
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Earl Scruggs
Scruggs
Earl
Scruggs
Scruggs
Scruggs
Earl Sc
Scruggs
Scruggs
Steve Scruggs
Earl
Earl Sc
Randy Scruggs
Scruggs
Scruggs
Earl
Earl Scruggs
Scruggs
Scruggs
Earl Scruggs
Earl Sc
Earl Scrug


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<mask>-<mask>, a Polish politician and publicist, was born on 15 November 1867 in Dünaburg, Vitebsk Governorate, Russian Empire (current Latvia), into a Polish szlachta family of the Kresy region. Both his parents fought in the January Uprising. Throughout his life, Studnicki was famous for his strongly pro-German stance, and in the Polish People's Republic all his books were banned from publication. He was the older brother of historian Wacław Studnicki. He died on 10 January 1953 in London. Before 1918
His political career started in late 19th century at the Kronenberg Trade School in Warsaw, in the Socialist organization Proletariat, for which Russian authorities sent him first to the Warsaw Citadel (7 December 1888), and then to Eastern Siberia, where he spent six years. After returning from exile in 1896, he became activist of the Polish Socialist Party, but left it, choosing the national movement, in which he was the main ideologist.However, unhappy about the pro-Russian program of the nationalists, deserted them and in 1904 wrote a book From Socialism to Nationalism, in which he explained reasons for the change in his ideals. In 1901, after visiting Vienna and Heidelberg, he settled in Austrian Galicia. In 1903 Studnicki moved to Lwów, where he founded the Lwów Weekly news magazine. In 1910 he authored another publication, Polish Case, in which he presented the case for reconstructing Poland, with the support of Austria-Hungary and the German Empire. Also, at that time Studnicki proposed changing Austria-Hungary into the Austrian-Hungarian-Polish federation. He was strongly anti-Russian, emphasizing that Russian Empire occupied 80% of the territory of the 1772 Polish–Lithuanian Commonwealth (see: Partitions of Poland). In the mid-1910s, Studnicki became one of the most important pro-German politicians in Poland.On 10 May 1916 he met Hans Hartwig von Beseler, Governor General of Warsaw, to whom he presented a blueprint of independent Poland, with eastern borders along the Dvina and Berezina rivers and western borders unchanged, leaving Poznań, Bydgoszcz and Upper Silesia in German possession. Later, he became a member of the Provisional Council of State, a German-sponsored government, existing in Warsaw in the years 1916–1918, see Kingdom of Poland (1916–18). Studnicki was so influential in Polish politics in the late 1910s, that Matthias Erzberger called him the "spiritual father of the Act of 5th November, 1916". Therefore, Studnicki can be regarded as one of "founding fathers" of the Second Polish Republic, together with Roman Dmowski and Józef Piłsudski. Interbellum Poland
In the Second Polish Republic Studnicki devoted his time to writing. He authored a number of books, among them Political System of Europe and Poland (1935), A Question of Czechoslovakia and Polish Raison d’Etat (1938) and, finally Facing the Oncoming Second World War (1939) in which he correctly assessed and anticipated the events of the conflict. In Political System of Europe and Poland (System polityczny Europy a Polska), <mask> wrote: "Poland and Germany can become the foundation of a large Central European bloc, together with Austria, Hungary, Czech, Romania, Bulgaria, Yugoslavia, Turkey, Greece and the Baltic states: altogether, 200 million people".In his view, this bloc would oppose the Soviet Union. Studnicki correctly predicted the Anschluss and the collapse of Czechoslovakia, but in his opinion, stated in 1939, the annexation of Zaolzie into Poland was an inadequate reward for not allowing the Workers' and Peasants' Red Army to pass through Polish territory. Apart from writing, Studnicki worked as a civil servant. He was established and managed the Statistical Office of the Civil Administration of the Eastern Lands (1919–1920). Later he was consultant at the Ministry of Industry and Trade (1922–1926) and the Ministry of Foreign Affairs (1928–1930). Furthermore, he lectured at the Institute of Trade and Economic Sciences in Wilno. In 1935 and 1938 he stood in elections to the Sejm, but failed to convince Polish voters.In a manner similar to National Democracy politicians, Studnicki espoused the view that Jews were "parasites on the healthy branch of the Polish tree". His work Sprawa polsko-zydowska was filled with anti-Semitic idioms, and advocated for the emigration of 100,000 Jewish Poles per annum with the goal of "dejudaization of Poland" in thirty years. 1939
In March 1939 Studnicki wrote in Słowo that German occupation of Czechoslovakia was a mistake, as it provoked anti-German feelings among Poles, and worsened Poland's geostrategic situation. Nevertheless, he continued to advocate a Polish-German alliance. On 6 April, a Polish-British communiqué was issued (see Anglo-Polish military alliance), regarding mutual guarantees. Studnicki knew well that a Polish-German conflict was imminent, trying to do everything he could to prevent it. On 13 April 1939, he wrote a letter to Minister Józef Beck, warning that acceptance of British guarantees meant catastrophe for Poland.In his opinion, Poland should remain neutral in the oncoming war. He correctly predicted that the victory of Western Allies would draw Poland into the Soviet sphere of influence, loss of her independence and eastern territories. According to him, the Polish government should end all kinds of anti-German activities and try to peacefully settle all mutual problems. Studnicki proposed that the Free City of Danzig should be handed over to the Third Reich, in exchange he expected the lease of the port of Liepaja in Latvia and German agreement of a Polish protectorate of independent Slovakia. On 5 May 1939, Studnicki wrote "Memo Against the War with Germany", sending it to all members of the Polish government, except for Felicjan Sławoj Składkowski. He warned that acceptance of British guarantees increased the risk of armed conflict and as a result of this step, Poland would be the first victim of German attack: "When one faces an enemy on two fronts, the weaker enemy is liquidated first. And we are the weaker enemy in this case (...) Poland should pledge neutrality, renounce the alliance with Britain and move its army eastwards, to protect the Soviet border".Studnicki claimed that Poland should promote the notion of "armed neutrality", as her priority should be not to allow the Red Army to enter Polish territory. Nevertheless, the declaration of neutrality would end the Central European bloc, and was only a desperate attempt to postpone the conflict and preserve Poland's independence. In June 1939, <mask> Studnicki published his last book of the interwar period, Facing the Oncoming Second World War. All copies of the book were immediately confiscated by the government censorship office, and Warsaw authorities planned to send the author to the Bereza Kartuska concentration camp. Studnicki precisely predicted the events of the oncoming conflict. He claimed that the Free City of Danzig in itself was not the sole reason of Polish-German disagreement. The conflict was about the Polish role in the war, whether she would join Germany or the Allied camp.British guarantees were aimed at drawing Poland to the Allied camp, but their acceptance meant that Germany would attack Poland first. To avoid this, Poland should hand Danzig over to Germany and agree to the construction of an extraterritorial highway and rail line through the Polish Corridor. As for the British guarantees, Studnicki claimed that during the 1920s and early 1930s, Great Britain never expressed any interest in Poland, so the sudden change of mood in London was, in his opinion, insincere: "This alleged British concern over Polish interests along the Baltic Sea has a well-defined foundation. The British want German military power to attack Poland first, at the beginning of the war, when Britain is not yet ready for the conflict". In <mask>'s opinion, the Anglo-Polish alliance was very dangerous to Poland, as London wanted to draw the Soviet Union into the war as its ally. The Soviets would be rewarded with eastern Polish territories. Second World War
During the war <mask> <mask>, whose pro-German stance was well known to German authorities, frequently intervened in support of arrested and executed Polish activists.Due to his efforts, Bolesław Piasecki, creator of National Radical Camp Falanga, was released from German prison. In most cases, however, Studnicki's interventions did not help. As a result, in January 1940 he decided to issue a "Memo to the German Government", in which he expressed his opposition to the policy of German occupational authorities, based on bloody terror. In his view, this stance would result in growing anti-German feelings among ethnic Poles, which would make it impossible to create an agreement between Poles and Germans, aimed at the Soviet Union. Furthermore, a few weeks after the Invasion of Poland, Studnicki presented to German military authorities the "Memo on Recreation of Polish Army and the Oncoming German - Soviet War". In this document, he proposed recreation of Polish Army, which would fight the Red Army alongside the Wehrmacht. Furthermore, he suggested that a Polish Government should be recreated.To make this happen, German authorities should cease killings and repression of Polish activists. Polish Army, in cooperation with the Wehrmacht, was to seize the territories west of the Dniepr river, while Germans were to march further east, to the Caucasus. Both memos were confiscated by Germans. Desperate, Studnicki decided then to personally visit Berlin, and talk to Adolf Hitler. In late January 1940, he went to Berlin, and talked with Joseph Goebbels, but without any fruits. After the conversation, he was interned at Babelsberg, but was released following a plea of Hermann Göring. In August 1940 Studnicki returned to Warsaw.He remained in touch with German authorities, and his continuous pleas for better treatment of Poles resulted in his arrest on 10 July 1941. Studnicki remained in Pawiak Prison until August 1942, when he was released due to poor health and efforts of both Maurycy Stanisław Potocki and the Hungarian ambassador. In the final years of the war, Studnicki criticized both German terror and Polish resistance, whose activities resulted in German reprisals and sufferings of the civilian population. In his opinion, the Soviet Union was the main enemy of Poland, and all Polish forces should concentrate their efforts on fighting the Soviets. In July 1944 he left for Hungary, and then Austria. In 1945 he went to Rome, and finally, in late 1946, Studnicki settled in London. Due to his uncompromising stance and unpopular convictions, he was isolated by other Polish emigres.Furthermore, in 1948 he volunteered to defend Generalfeldmarschall Erich von Manstein, but the court decided not to send for him. In 1951, the government of the Republic of Poland banned all his books. After the war
Before his death, Studnicki published his Second World War memoirs. In Tragic Days he tried to explain and justify his pro-German stance. Originally, Studnicki's memoirs were titled How I did not become a Polish Vidkun Quisling, but Mieczysław Grydzewski, editor in chief of Polish News, which published the book, decided to change the title. Several contemporary Polish historians, such as Jerzy Łojek, Andrzej Piskozub, and Paweł Wieczorkiewicz have stated that Studnicki was right back in the summer of 1939. They all claim that the only solution at that time was to sign an alliance with Germany, in order to avoid wartime destruction and communism.Another historian, Tomasz Gabis wrote in his book Imperial Games (2008) that if, in the summer of 1939, Poland had come to an agreement with Germany, the war would have never taken place, as France and the United Kingdom would have had no reason to declare it on Germany. Instead of the Molotov–Ribbentrop Pact, a Central European anti-Soviet bloc would have been created. Another supporter of Studnicki's views is Piotr Zychowicz in his book Pact Ribbentrop - Beck. Works
 <mask> Studnicki Pisma wybrane, Tom 1 Z przeżyć i walk, Toruń 2001, Wyd. Adam Marszałek,
 <mask> Studnicki Pisma wybrane, Tom 2 Polityka międzynarodowa Polski w okresie międzywojennym, Toruń 2009, Wyd. Adam Marszałek,
 <mask> Studnicki Pisma wybrane, Tom 3 Ludzie, idee i czyny, Toruń 2000, Wyd. Adam Marszałek,
 <mask> Studnicki Pisma wybrane, Tom 4 Tragiczne manowce.Próby przeciwdziałania katastrofom narodowym 1939-1945, Toruń 2002, Wyd. Adam Marszałek,

Sources
 Polski Słownik Biograficzny, tom 45/1, wyd. 2007
 Jacek Gzella, Zaborcy i sąsiedzi Polski w myśli społeczno-politycznej Władysława Studnickiego: (do 1939 roku), Toruń 1998. Jan Sadkiewicz, "Ci, którzy przekonać nie umieją". Idea porozumienia polsko-niemieckiego w publicystyce Władysława Studnickiego i wileńskiego  "Słowa" (do 1939), Kraków 2012. Gaweł Strządała, Niemcy w myśli politycznej Władsława Studnickiego, Opole 2011. References

External links
 Studnicki's archive at the Jozef Pilsudski Institute of America

1867 births
1953 deaths
Politicians from Daugavpils
Writers from Daugavpils
People from Dvinsky Uyezd
People of the Russian Empire of Polish descent
Polish Socialist Party politicians
Polish nationalists
Members of the Provisional Council of State
Polish independence activists
Polish collaborators with Nazi Germany
Polish anti-communists
Polish journalists
Polish emigrants to the United Kingdom
Burials at St Mary's Catholic Cemetery, Kensal Green
Conservatism in Poland

masks:
Władysław Gizbert
Studnicki
Studnicki
Władysław
Studnicki
Władysław
Studnicki
Władysław
Władysław
Władysław
Władysław


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<mask> (born October 6, 1940) is an American computer scientist and businessman best known for co-founding Adobe Systems Inc., the graphics and publishing software company, with Charles Geschke. <mask> was President of Adobe for his first two years and chairman and CEO for his remaining sixteen years at the company. Although he retired as CEO in 2000, he still co-chaired the board with Geschke. <mask> has pioneered the development of graphics, publishing, Web and electronic document technologies that have revolutionized the field of publishing and visual communications. Early life and education
<mask> was born and raised in Salt Lake City, Utah. Although he failed mathematics in ninth grade while graduating from Olympus High School in 1958,   <mask> went on to earn a Bachelor of Science degree in mathematics and philosophy, a Doctor of Philosophy degree in electrical engineering (computer science), and an honorary degree in science, all from the University of Utah. At the University of Utah he was a member of the Gamma Beta Chapter of the Beta Theta Pi fraternity.He also has an honorary degree from the American Film Institute. He currently lives in the San Francisco Bay Area with his wife Marva E<mask>, an illustrator. They have three children. Career
<mask>'s earliest publication and subject of his master's thesis, was his 1964 proof of a theorem solving the Jacobson radical for row-finite matrices, which was originally posed by the American mathematician Nathan Jacobson in 1956. In his 1969 doctoral thesis, <mask> invented the Warnock algorithm for hidden surface determination in computer graphics. It works by recursive subdivision of a scene until areas are obtained that are trivial to compute. It solves the problem of rendering a complicated image by avoiding the problem.If the scene is simple enough to compute then it is rendered; otherwise it is divided into smaller parts and the process is repeated. <mask> notes that for this work he received "the dubious distinction of having written the shortest doctoral thesis in University of Utah history". In 1976, while <mask> worked at Evans & Sutherland, a Salt Lake City-based computer graphics company, the concepts of the PostScript language were seeded. Prior to co-founding Adobe, with Geschke and Putman, <mask> worked with Geschke at Xerox's Palo Alto Research Center (Xerox PARC), where he had started in 1978. Unable to convince Xerox management of the approach to commercialize the InterPress graphics language for controlling printing, he, together with Geschke and Putman, left Xerox to start Adobe in 1982. At their new company, they developed an equivalent technology, PostScript, from scratch, and brought it to market for Apple's LaserWriter in 1985. In the spring of 1991, <mask> outlined a system called "Camelot", that evolved into the Portable Document Format (PDF) file-format.The goal of Camelot was to "effectively capture documents from any application, send electronic versions of these documents anywhere, and view and print these documents on any machines". <mask>'s document contemplated:

One of Adobe's popular typefaces, Warnock, is named after him. Adobe's PostScript technology made it easier to print text and images from a computer, revolutionizing media and publishing in the 1980s. In 2003, <mask> and his wife donated 200,000 shares of Adobe Systems (valued at over $5.7 million) to the University of Utah as the main gift for a new engineering building. The John E. and Marva M. Warnock Engineering Building was completed in 2007 and houses the Scientific Computing and Imaging Institute and the Dean of the University of Utah College of Engineering. Dr. <mask> holds seven patents. In addition to Adobe Systems, he serves or has served on the board of directors at ebrary, Knight-Ridder, MongoNet, Netscape Communications and Salon Media Group.<mask> is a past Chairman of the Tech Museum of Innovation in San Jose. He also serves on the Board of Trustees of the American Film Institute and the Sundance Institute. His hobbies include photography, skiing, Web development, painting, hiking, curation of rare scientific books and historical Native American objects. A strong supporter of higher education, <mask> and his wife, Marva, have supported three presidential endowed chairs in computer science, mathematics and fine arts at the University of Utah and also an endowed chair in medical research at Stanford University. Recognition
The recipient of numerous scientific and technical awards, <mask> won the Software Systems Award from the Association for Computing Machinery in 1989. In 1995 <mask> received the University of Utah Distinguished Alumnus Award and in 1999 he was inducted as a Fellow of the Association for Computing Machinery. <mask> was awarded the Edwin H. Land Medal from the Optical Society of America in 2000.In 2002, he was made a Fellow of the Computer History Museum for "his accomplishments in the commercialization of desktop publishing with Chuck Geschke and for innovations in scalable type, computer graphics and printing." Oxford University's Bodleian Library bestowed the Bodley Medal on <mask> in November 2003. In 2004, <mask> received the Lovelace Medal from the British Computer Society in London. In October 2006, <mask>—along with Adobe co-founder Charles Geschke—received the American Electronics Association's Annual Medal of Achievement Award, being the first software executives to receive this award. In 2008, <mask> and Geschke received the Computer Entrepreneur Award from the IEEE Computer Society "for inventing PostScript and PDF and helping to launch the desktop publishing revolution and change the way people engage with information and entertainment". In September 2009, <mask> and Geschke were chosen to receive the National Medal of Technology and Innovation, one of the nation's highest honors bestowed on scientists, engineers and inventors. In 2010, <mask> and Geschke received the Marconi Prize, considered the highest honor specifically for contributions to information science and communications.<mask> is a member of the National Academy of Engineering, the American Academy of Arts and Sciences, and the American Philosophical Society, the latter being America's oldest learned society. He has received honorary degrees from the University of Utah, the American Film Institute, and The University of Nottingham in the UK. See also
 Warnock algorithm

References

External links
 Interview in Knowledge@Wharton published January 20, 2010
 Biography at Computer History Museum
 Biography on Adobe Web site
 <mask>'s Utah Bed and Breakfast-The Blue Boar Inn
 Warnock's Rare Book Room educational site which allows visitors to examine and read some of the great books of the world
 <mask>'s Splendid Heritage website which documents rare American Indian objects from private collections

1940 births
Adobe Inc. people
American computer programmers
Computer graphics professionals
Computer graphics researchers
Fellows of the Association for Computing Machinery
Living people
University of Utah alumni
National Medal of Technology recipients
Businesspeople from Salt Lake City
Members of the United States National Academy of Engineering
American technology company founders
Scientists at PARC (company)

masks:
John Edward Warnock
Warnock
Warnock
Warnock
Warnock
. Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
Warnock
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Warnock


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<mask> (16 August 1759 – 1 December 1818) was a Swedish painter who studied in and spent much of his career in Britain before becoming painter to the Swedish court. He was born in Stockholm in 1759, and moved to Britain where he was a student of Joshua Reynolds. Breda specialized in painting portraits and was called "the van Dyck of Sweden". He returned to Sweden 1796 where he became Professor at the Academy of Arts, a popular portraitist, and a court painter. Breda married at age 22 and his son, Johan Fredrik, was also a painter, who studied under his father. Breda died in Stockholm in 1818. Breda painted James Watt.Early life
Breda's great-grandfather Pieter emigrated to Stockholm around the year 1670 from the Netherlands. The "<mask> Breda" family name seems to indicate a connection with the city of Breda. Von is not a Dutch preposition, but in the Nordic countries, this originally German preposition has occasionally been used as a part of names of ennobled families of native or foreign, but non-German, origin. Pieter's son Lucas (<mask>'s grandfather, 1676–1752) was a successful painter. His son Lucas (<mask>'s father, 1726–1799) was an "arbitrator in cases of shipwreck", who also collected art. Lucas the younger married Johanna Cornelia Piper and they had five children, with <mask> born on 16 August 1759. <mask> had "an excellent education" and enrolled in the Royal Swedish Academy of Arts at age 19.At the Academy, Breda studied historical and portrait painting. Lorens Pasch the Younger was Breda's master there, and Breda's early works show this influence very clearly, especially in his color palette. In 1780 Breda received the first of many prizes for his art, and in 1784 he exhibited 19 paintings in the first exhibition which the Academy arranged. The same year he saw his first royal portrait, one of Duchess Hedvig Elisabeth Charlotte, sister-in-law to King Gustavus III. He also painted the Crown Prince, Gustavus Adolphus, and Gustavus III himself. In 1786 he entered a competition in historical painting at the Academy, producing a painting on the theme of Meleager, the Greek Prince. He lost to Jonas Åkerström.According to Asplund, "the selection was influenced by the better financial position of Breda, since he was able to provide the money for the journey abroad which the prize money was to make possible." Breda had married at age 22 and he and his wife had at least one son, so instead of the usual young artist's trip to Paris and Rome, he chose to go to London, where his family could accompany him. In London, Breda's son Johan Fredrik <mask>, was born in 1788. Great Britain
In Britain, Breda was exposed to the work of many great painters and was able to study with Joshua Reynolds. Reynolds was said by his pupil James Northcote to "not trouble himself much with his students", but his influence on Breda led to a "revolutionary change" in Breda's style, and through him had an effect on many subsequent Swedish portrait painters. Breda painted a portrait of Reynolds, which was his diploma picture for his admission to the Stockholm Academy of Arts in 1791. Breda established a London studio in St James's Street and quickly became a popular portraitist with "learned men and literati" and "many lovely ladies".Among those he painted portraits of while in London were the abolitionists Thomas Clarkson, James Ramsay and Charles Bernhard Waldström, as well as engineers James Watt and Matthew Boulton. These last two were members of the Lunar Society and were painted by Breda on a visit to Birmingham in 1792. The portrait of Watt is in the National Portrait Gallery, London and that of Boulton in Birmingham Museum and Art Gallery. Others associated with the Lunar Society whose portraits Breda painted included the botanist and scientist William Withering and Mary Priestley, wife of chemist and theologian Joseph Priestley. Return to Sweden
Breda returned to Stockholm in 1796, where he became a Professor at the Academy and received many orders for portraits. According to Asplund, his "bold, spirited brushwork, which he had learnt in England, aroused admiration in Sweden" and his finest portraits were painted in 1797 and 1798 and sees the dawn of Romanticism in his later works. These include paintings of his father Lucas, two of his nephews, the scholar and humanist Nils <mask>, and the singer Teresa Vandoni.This last is considered his most celebrated work. According to Asplund, the longer he stayed in Sweden, the more monotonous Breda's portraits became. He inherited his father's house and art collection, and they became a center of culture in Stockholm. Breda taught students, including his son Johan, and was known as a kind and sympathetic teacher. Breda received official commissions: after the monarchy fell in 1809, he painted a series of portraits of the "four Estates of the Realm" from 1811 on, and in 1812 he was ennobled. However, the political uncertainty and upheaval in Sweden at the time often interfered with his work. He failed to complete at least two planned paintings - in 1800 he was commissioned to paint the coronation of Gustav IV Adolf, whom he had painted as a child, but there were many delays and the king was deposed in 1809 before the painting could be completed.A similar commission to paint the coronation of Gustav IV Adolf's Uncle, Charles XIII also was delayed repeatedly. Breda had difficulties finding a suitable studio to work in, and when he finally did, had to vacate it after two years for the sculptor Johan Niclas Byström. The work in progress was rolled up, but when he tried to complete it two years later, the painting had been ruined. The Swedish Parliament refused a grant to complete the painting in 1818 and Breda died soon after of a cerebral hemorrhage, on 1 December. His son Johan also had a career as a portrait painter and died in Stockholm in 1835. Today Breda's works hang in many museums, including the Pera Museum in Istanbul, National Trust, Birmingham Museum and Art Gallery, National Portrait Gallery in London, the National Gallery of Art in Washington D.C., the Finnish National Gallery in Helsinki, and, in Stockholm, the Nationalmuseum and Academy of Arts. Gallery

References

Literature
1.Minchinton W. Scandinavian Art in England 1768-1838. Three cases. - The Northern Seas: politics, economics and culture: eight essays. Ed. by W.Minchington. 1989. 2.Baird, Olga. The Lunar Society in Portraits by <mask> <mask> Breda: Likenesses of Life and Soul. //Birmingham Historian, Issue 30, Summer 2007. pp. 27–32. 1759 births
1818 deaths
18th-century Swedish painters
Swedish male painters
Artists from Stockholm
Court painters
Deaths by intracerebral hemorrhage

masks:
Carl Frederik von Breda
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Carl
Carl
Carl
Carl
von Ba
von Rosenstein
Carl Fredrick
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