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<mask> (, , ; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, <mask> was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. He employed nudes and foreshortenings in his figures. This had seldom been done before him. The name <mask> is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s.He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time. He moved away from the International Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more naturalistic mode that employed perspective and chiaroscuro for greater realism. <mask> died at the age of twenty-six and little is known about the exact circumstances of his death. Upon hearing of <mask>’s death, Filippo Brunelleschi said: "We have suffered a great loss." Early life
<mask> was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (today part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles north of Florence. His family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers (casse, hence cassai).<mask>'s father died in 1406, when he was only five; later that same year a brother was born, named Giovanni (1406–1486) after his father. He also was to become a painter, with the nickname of lo Scheggia meaning "the splinter." In 1412 Monna Jacopa married an elderly apothecary, Tedesco di maestro Feo, who already had several daughters, one of whom grew up to marry the only other documented painter from Castel San Giovanni, Mariotto di Cristofano (1393–1457). There is no evidence for Masaccio's artistic education,  however Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Masaccio would likely have had to move to Florence to receive his training, but he was not documented in the city until he joined the painters guild (the Arte de' Medici e Speziali) as an independent master on January 7, 1422, signing as "Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia." First works
The first works attributed to Masaccio are the San Giovenale Triptych (1422), now in the Masaccio Museum of Sacred Art in Cascia di Reggello near Florence, and the Virgin and Child with Saint Anne (Sant'Anna Metterza) (c. 1424) at the Uffizi. The San Giovenale altarpiece was discovered in 1961 in the church of San Giovenale at Cascia di Reggello, very close to <mask>'s hometown.It depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the left panel, and Sts. Juvenal (i.e. San Giovenale) and Anthony Abbot in the right panel. The painting has lost much of its original framing, and its surface is badly abraded. Nevertheless, <mask>'s concern to suggest three-dimensionality through volumetric figures and foreshortened forms is apparent, and stands as a revival of Giotto's approach, rather than a continuation of contemporary trends. The second work was perhaps <mask>'s first collaboration with the older and already-renowned artist, Masolino da Panicale (1383/4–c.1436). The circumstances of the two artists' collaboration are unclear; since Masolino was considerably older, it seems likely that he brought <mask> under his wing, but the division of hands in the Virgin and Child with Saint Anne is so marked that it is hard to see the older artist as the controlling figure in this commission. Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne. Masolino's figures are delicate, graceful and somewhat flat, while <mask>'s are solid and hefty. Maturity
In Florence, Masaccio could study the works of Giotto and become friends with Brunelleschi and Donatello. According to Vasari, at their prompting in 1423 Masaccio travelled to Rome with Masolino: from that point he was freed of all Gothic and Byzantine influence, as seen in his altarpiece for the Carmelite Church in Pisa. The traces of influences from ancient Roman and Greek art that are present in some of Masaccio's works presumably originated from this trip: they should also have been present in a lost Sagra, (today known through some drawings, including one by Michelangelo), a fresco commissioned for the consecration ceremony of the church of Santa Maria del Carmine in Florence (April 19, 1422).It was destroyed when the church's cloister was rebuilt at the end of the 16th century. Brancacci Chapel

In 1424, the "duo preciso e noto" ("well and known duo") of <mask> and Masolino was commissioned by the powerful and wealthy Felice Brancacci to execute a cycle of frescoes for the Brancacci Chapel in the church of Santa Maria del Carmine in Florence. With the two artists probably working simultaneously, the painting began around 1425, but for unknown reasons the chapel was left unfinished, and was completed by Filippino Lippi in the 1480s. The iconography of the fresco decoration is somewhat unusual; while the majority of the frescoes represent the life of St. Peter, two scenes, on either side of the threshold of the chapel space, depict the temptation and expulsion of Adam and Eve. As a whole, the frescoes recount the life of St Peter as if it were the story of salvation. The style of Masaccio's scenes shows the influence of Giotto especially. Figures are large, heavy, and solid; emotions are expressed through faces and gestures; and there is a strong impression of naturalism throughout the paintings.Unlike Giotto, however, <mask> uses linear and atmospheric perspective, directional light, and chiaroscuro, which is the representation of form through light and color without outlines. As a result, his frescoes are even more convincingly lifelike than those of his trecento predecessor. Works of the chapel

The Expulsion from the Garden of Eden, depicts a distressed Adam and Eve, chased from the garden by a threatening angel. Adam covers his entire face to express his shame, while Eve covers her breasts and groin. The fresco had a huge influence on Michelangelo and his work. Another major work is The Tribute Money in which Jesus and the Apostles are depicted as neo-classical archetypes. Scholars have often noted that the shadows of the figures all fall away from the chapel window, as if the figures are lit by it; this is an added stroke of verisimilitude and further tribute to Masaccio's innovative genius.In the Resurrection of the Son of Theophilus, he painted a pavement in perspective, framed by large buildings to obtain a three-dimensional space in which the figures are placed proportionate to their surroundings. In this he was a pioneer in applying the newly discovered rules of perspective. In September 1425 Masolino left the work and went to Hungary. It is not known if this was because of money quarrels with Felice or an artistic divergence with Masaccio. It has also been supposed that Masolino planned this trip from the very beginning, and needed a close collaborator who could continue the work after his departure. But <mask> left the frescoes unfinished in 1426 in order to respond to other commissions, probably coming from the same patron. However, it has also been suggested that the declining finances of Felice Brancacci were insufficient to pay for any further work, so the painter sought work elsewhere.<mask> returned in 1427 to work again in the Carmine, beginning the Resurrection of the Son of Theophilus, but apparently left it, too, unfinished, although it has been suggested that the painting was severely damaged later in the century because it had contained portraits of the Brancacci family, at that time excoriated as enemies of the Medici. This painting was either restored or completed more than fifty years later by Filippino Lippi. Some of the scenes completed by <mask> and Masolino were lost in a fire in 1771; we know about them only through Vasari's biography. The surviving parts were extensively blackened by smoke. In the twentieth century, the removal of marble slabs covering two areas of the paintings revealed the original appearance of the work. Pisa Altarpiece
On February 19, 1426, <mask> was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the Pisa Altarpiece, for his chapel in the church of Santa Maria del Carmine in Pisa. The work was dismantled and dispersed in the 18th century, and only eleven of about twenty original panels have been rediscovered in various collections around the world.The central panel of the altarpiece (The Madonna and Child) is now in the National Gallery, London. Although it is very damaged, the work features a sculptural and human Madonna as well as a convincing perspectival depiction of her throne. <mask> probably worked on it entirely in Pisa, shuttling back and forth to Florence, where he was still working on the Brancacci Chapel. In these years, Donatello was also working in Pisa at a monument for Cardinal Rinaldo Brancacci, to be sent to Naples. It is suggested that <mask>'s first ventures in plasticity and perspective were based on Donatello's sculpture, before he could study Brunelleschi's more scientific approach to perspective. Holy Trinity
Around 1427 Masaccio won a prestigious commission to produce a Holy Trinity for the Dominican church of Santa Maria Novella in Florence. No contemporary documents record the patron of the fresco, but recently references to ownership of a tomb at the foot of the fresco have been found in the records of the Berti family of the Santa Maria Novella Quarter of Florence; this working-class family expressed a long-standing devotion to the Trinity, and may well have commissioned Masaccio's painting.Probably it is the male patron who is represented to the left of the Virgin in the painting, while his wife is right of St. John the Evangelist. The fresco, considered by many to be Masaccio's masterwork, is the earliest surviving painting to use systematic linear perspective, possibly devised by Masaccio with the assistance of Brunelleschi. According to the reconstruction Masaccio started by producing a rough drawing of the composition and perspective lines on the wall. The drawing was covered with fresh plaster for making the fresco. To ensure the precise transfer of the perspective lines from the sketch to the plaster, Masaccio inserted a nail in at the vanishing point under the base of the cross and attached strings to it, which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible. The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus.An inscription seemingly carved into the wall above the skeleton reads:  "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet be). This skeleton is at once a reference to Adam, whose sin brought humans to death and a reminder to viewers that their time on earth is transitory. It is only through faith in the Trinity, the fresco suggests, that one overcomes this death. The Holy Spirit is seen in the form of a dove, above Jesus. The combination of trinity, death and decay "can be interpreted as a transposition of the Golgotha chapel"  in the Church of the Holy Sepulchre in Jerusalem. Other paintings
Masaccio produced two other works, a Nativity and an Annunciation, now lost, before leaving for Rome, where his companion Masolino was frescoing a chapel with scenes from the life of St. Catherine in the Basilica di San Clemente. It has never been confirmed that Masaccio collaborated on that work, even though it is possible that he contributed to Masolino's polyptych for the altar of Santa Maria Maggiore with his panel portraying St. Jerome and St. John the Baptist, now in the National Gallery of London.<mask> died at the end of 1428. According to a legend, he was poisoned by a jealous rival painter. Only four frescoes undoubtedly from Masaccio's hand still exist today, although many other works have been at least partially attributed to him. Others are believed to have been destroyed. Legacy
Masaccio profoundly influenced the art of painting and is considered to have begun the Early Italian Renaissance in painting. According to Vasari, all "most celebrated" Florentine "sculptors and painters" studied his frescoes extensively in order to "learn the precepts and rules for painting well." He transformed the direction of Italian painting, moving it away from the idealizations of Gothic art, and, for the first time, presenting it as part of a more profound, natural, and humanist world.Moreover, Masaccio influenced a great many artists both while he was alive and posthumously. His influence is particularly notable in the works of Florentine minor masters, such as Andrea di Giusto, Giovanni dal Ponte, and others who attempted to replicate his glowing, lifelike forms. 408, 409)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. Italian Renaissance painters
Painters from Florence
Quattrocento painters
1401 births
1428 deaths
Painters from Tuscany
People from the Province of Arezzo
Italian male painters
15th-century people of the Republic of Florence
15th-century Italian painters

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<mask> (March 24, 1853–September 1, 1911) was a nationally active American architect based in New York City. He is known for designing the Tower Building in 1889, the first steel-framed building anywhere and the first skyscraper in New York City. This technique was soon copied across the United States. He also designed Atlanta's Cotton States and International Exposition of 1895, the Flatiron Building in Atlanta, and many railroad stations. Background
<mask> was born in Watertown, New York, the son of civil engineer and banker <mask> and his wife Marie Antoinette (née Bacon). His uncle was Jasper W<mask>, a justice with the New York Supreme Court. He attended Siglar's School in Newburg and the Sedgwick Institute in Great Barrington, Massachusetts.Later, he had private tutors at home in Irvington, New York to get ready to attend Yale University, rather than his father's alma mater Norwich University. However, <mask> decided to forgo college as he was very anxious to learn architecture. He became a student with the architectural firm J. Cleveland Cady in New York City for five years, beginning in 1872. In 1876, <mask> was hired as an architect for the New York, Lake Earie and Western Railroad, under engineer Octave Chanute. Through his work with the railroad in the Northern and Northwestern states, <mask> earned a reputation for originality. Although his  body of work is diverse, he preferred Romanesque style and consistently featured, "sinuous, interlaced patterns, virtuoso brickwork and deep red color effects." By 1890, <mask> opened a firm in his name in at 1 Broadway in New York City, initially specializing in railroad and public buildings.He said, "It certainly costs no more, often not such much, to design a building that is architecturally correct, of good, quiet contour, the whole effect gained by constructional outlines, in place of the fancy 'ginger-bread' work to often adopted; and with the interior arrangements designed to meet every requirement." Throughout his career, <mask> also designed apartment buildings, churches, clubs, exhibition buildings, hospitals, hotels, houses, and office buildings. <mask> did not just design buildings, he also managed the projects and visited the construction sites; this was documented in newspapers articles announcing his arrival in town to check on progress of the projects. This attention to detail may have paid off as many of his other projects steamed from his railroad connections, including designing residences for William H. Baldwin, Jr. who was president of the Long Island Railroad, Alfred Skitt who was president of the New York City Interborough Railway Company, Arthur M. Dodge whose father built the Macon and Brunswick Railroad, Benjamin A. Kimball who was president of the Concord and Montreal Railroad Company, and William Greene Raoul president of the Atlantic and Birmingham Railway, the Central Railroad and Banking Company of Georgia, the Mexican National Railroad Company, and the Southwestern Railroad. Projects

Railroad stations

As an architect with the New York, Lake Erie & Western Railroad, <mask> designed many railroad stations and related buildings. Through his private practice, his railroad clients included the Atlantic Coast Line Railroad; Boston & Maine Railroad; Central Railroad of New Jersey; Concord and Montreal Railroad; the Delaware, Lackawanna & Western Railroad; Flint & Pere Marquette Railroad; Georgia Railroad Company; Grand Rapids and Indiana Railroad; Illinois Central Railroad; Intercolonial Railroad (Canada); Michigan Central Railroad; Missouri-Kansas-Texas Railroad; New York, New Haven and Hartford Railroad; Norfolk and Virginia Beach Railroad; Northern Pacific Railway; Old Colony Railroad; Philadelphia & Reading Company and others. In 1901, he designed the Ottawa Central Railway Station.He also designed stations, offices and terminals for the National Railroad of Mexico. <mask> designed the Illinois Central Terminus at 12th Street in Chicago—it was constructed in nine months for the 1893 for the World's Columbian Exposition. The location and use of the building created certain challenges given the brief that all fair buildings have impact and beauty; <mask>'s solution was to increase the size of the station and give it strong Romanesque details, as "the first impression gained of the building by the general public would be regarding its general contour and 'massing' as well as the outline skylines." In other words, it need to be impressive at a distance. His design included a ten story office building, with lobby and offices connected via a pneumatic tube service. The first three stories were built from dark speckled granite, with buff brick for the upper levels. The roof was dark glazed Spanish tiles, along with a coppery dome.<mask> was also instructed to make the building fireproof. He achieved this in part by using the building's adjacent tower as a series of fire-proof vaults. The 15-story tower was also a functional clock tower. The cost of this project was over a million dollars, including the passenger station, waiting rooms, restaurant, office building, and a train shed that covered eight tracks. The waiting room was the largest in the world, at 100 x 150 feet, and 100 feet high. This elaborate structure remained in use until it was demolished in 1974. <mask> was also the architect for the 1898 remodel of New York City's Grand Central Terminal—a project started in 1892 where "no expense is to be spared in making the building attractive"  The actual cost was around $175,000.<mask> designed the ten-story building in the Romanesque style. The front of the building had ornamental bronze panels and bay windows on the second story. The lower level was granite, with limestone from Indiana on top. Inside, there were tiled floors and deeply paneled ceilings, as well as pneumatic tubes to connect the lobby to the offices. This building was replaced by the current Grand Central Station in 1913. Whether designing a large railroad station for New York City or a small station for a Mexican village, <mask> believe the structure should be comfortable, functional, and aesthetically pleasing so as to be an asset to its community. In Engineering Magazine, <mask> wrote, "No excuse should exempt a railroad company from being amenable to 'local pride.'"He also criticized designing public buildings in Queen Anne or other overly decorative styles as being both expensive to construct and to maintain. World's Columbian Exposition
In 1893, <mask> designed an exhibition building for the for the World's Columbian Exposition in Chicago for his clients the New York Central and Hudson River Railroad along with The Wagner Palace Car Co. The building contained wings on either side for railroad engines; inside was an exhibit showing photographs and sketches of <mask>'s work on railroad station architecture. The Exposition's Board of Directors gave <mask> a gold medal "for a new type of American architecture." In 1895, the exhibit illustrations were published by Railway Gazette as a book, Sketch Portfolio of Railroad Stations and Kindred Structures. <mask> noted that railroad buildings had been overlooked in the past, but were an excellent place to "to illustrate the modern architecture." Mason Stables
Edmund Coffin Jr., a prominent real estate investor and lawyer in New York City, hired <mask> to design the Mason Stables.This project took three years to construct and was divided into two phases, 1881-1882 and 1883-1894. When completed, the Mason Stables were one of the largest livery stables in New York City. The five-story stables included 158 stalls and room for more than 300 carriages. Primarily Romanesque Revival in style, the building was decorated with some Celtic-style ornaments, repeating patterns in variegated orange-yellow and orange-red brick, and rows of repeating slender windows. One modern writer says, "The stables were nearly abstract, a field of dreams in orange, red and yellow masonry." The New York City Landmarks Preservation Commission says, "Color and texture, rather than ornament, were skillfully used to give the structure its simple, yet monumental character." Another unique aspect of the Mason Stables was its layout, as the stables wrapped around other buildings, resulting in three entrances—76th Street, 77th Street, and Amsterdam.Two of the entrances featured step-gables, a characteristic of Dutch Renaissance Revival style that <mask> used with other public buildings in New York City. In 1912, the stables were remodeled into a carpark and were renamed the Dakota Stables (not to be confused with a 19th-century facility with that name), and the Pyramid Garage in the 1950s. Over the years, the building lost many of its period details and it was demolished in 2011. Tower Building

John Noble Sterns, a supporter of the Cremorne Mission where <mask> was a trustee, hired <mask> in 1888 to design an eleven-story office building in New York City. For such a tall building, traditional construction methods required very thick walls that would have dominated the lot that was just 21 feet 6 inches wide. Calling upon his railroad background, <mask> thought of turning a railroad bridge on end, with iron girders to support the floors and external walls. This innovation of  "skeleton construction” with “steel-framed curtain walls” allowed him to construct a skyscraper without having thick load-bearing walls.Another benefit of this construction technique was that it was fire proof. To work around local building ordinances, <mask> had to first construct a foundation that was four stories or seventy feet tall, essentially the height of the adjacent buildings. This foundation was constructed of iron and Little Falls stone. Next, came ten stories constructed in Philadelphia and Tiffany brick, with an octagonal roof covered in Spanish tiles. The brickwork was colorful, and there were Celtic ornamentation similar to that of Mason Stables. Opening in 1889, the Tower Building is considered New York City's first skyscraper and the first curtain-wall building in the world. It was initially greeted with great skepticism, with members of the public predicting it would blow over.Some engineers declared it "unsafe and impracticable." To assure the public of its safety, <mask> moved his offices to its top floor—and remained there until he stopped practicing. He also scaled the building in the middle of an 1889 hurricane to prove that the building was not vibrating with a plumb line. In 1889, Engineering News called it "a most skillful solution of an exceedingly difficult problem." Kobble's New York and Environs wrote, "The Tower Building, of No. 50 Broadway, with its fifteen stories, is a remarkable example of a clever utilization of a narrow plot of ground." The Tower Building cost $250,000 to build.This was quite a bargain given that as it was expected to earn $210,000 a year in rent, after taxes and upkeep. A building with traditional construction on the same lot would have only netted $30,000 a year in rent, due to the height limit of ten stories and thick walls reducing square footage. Because <mask> had devised a way to double income from property, The Philadelphia Inquirer noted that "the old Knickerbockers who own real estate on Broadway and other gilt-edge thoroughfares in the lower part of New York have a new god in the person of <mask>. <mask>." The building was razed in 1914 to make way for a taller structure. Fire Engine Company No. 258, Hook and Ladder Company No.115
During his career, <mask> designed just one firehouse—for Engine Company No. 1 and Hook & Ladder Company No. 1 in Long Island City. Established in 1891, this company was, as its numbering suggests, the first professional firefighters in Queens. However, the first base of operation for this ladder company was a modest wood-frame shed. The department merged with that of New York City in 1898, and its name changed to Fire Engine Company No. 258 and Ladder Company No.115 in 1904.Constructed between 1902 and 1904, <mask>'s granite building with 4 1/2 stories not only improved the working condition of the firefighters, but also reflects the importance of this paid crew who fought fires at the Standard Oil refinery, row-frames, schools, tenements and factories such as the Pratt & Lambert varnish factory. New York City's Historic Districts Council says, "This building was one of the more ambitious firehouse projects undertaken by the department due to its size and level of architectural detail." Even the selection of the renowned <mask>, rather than the city's usual firehouse architects, was a statement. Calling on the origins of New York as New Netherland, <mask>'s designed the firehouse in Dutch Renaissance Revival style, with oversized limestone trim to offset the darker granite background. <mask> had also used Dutch Renaissance Revival for other buildings in New York City, including the 1888 YMCA building and the Samuel R. Smith Infirmary and Hospital in Staten Island. The fire house's site cost $20,000; the building was $60,000. The firehouse is still in use and is listed as a NYC Individual Landmark.Southern Projects
In 1888, <mask> designed the Virginia Beach Hotel, with its attached Terminal Station, for the Norfolk and Virginia Beach Railroad in Virginia Beach, Virginia. Later called the Princess Anne Hotel, this marked the beginnings of the beach resort, as well as Norfolk Southern Railroad. In 1895, <mask> designed the Mary F. Ballentine Home for the Aged at 927 Park Ave. in Norfolk, Virginia, for Thomas R. Ballentine. This facility was named after Ballentine's late wife as it was originally her idea. The Ballentine Home was intended to provide a non-institutional, home-like environment for elderly local women, "more specifically gentle folk of irreproachable family." Ballentine endowed the home when he died and it remained in <mask>'s building until new

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 construction at a different location in 1952. W.G.Raoul House
In 1891, wealthy railroad executive William Greene Raoul hired <mask> to design his residence on Peachtree Street in Atlanta, Georgia. The house and its estate included a wine cellar, a cottage for servants, a stable, and the first tennis court in Atlanta. This house was home to the Raoul family through 1914. During the 1940s, the Red Cross acquired the property and used the house as a blood donation and bandage rolling center; around 1950 the Red Cross built a modern building on the property, directly in the front of the Raoul house. The house was also surrounded by the Cabana Motor Hotel and the Biltmore Hotel, losing its original context on a street of mansions. The Raoul House was placed on the National Register of Historic Places in the 1980s, but burned in 1991 while it was leased to a night club. Cotton States and International Exposition

In 1895, <mask> was the supervising architect for the Cotton States and International Exposition in Atlanta.For this world's fair event, he designed many structures, including the Administration Building with Main Entrance and Exits, the Agricultural Building, the Auditorium, the Chime Tower and Band Stand, the Electricity Building, the Fire Building, the Machinery Hall, the Manufacturers & Liberal Arts Building, the Minerals and Forestry Building, the Negro Building, the Semi-Circular Entrance and Exit Gateway, the Transportation Building, and the United States Government Building. There was a logic to his designs; for example, the Minerals and Forestry Building was constructed of natural Southern woods. At his suggestion, <mask> designs were in the Romanesque style as this resulted in cost-effective temporary structures with simple outline. Romanesque style was also a good way for Atlanta "to be seen as au courant with America's commercial trends." In addition to designing for the Exposition, he also created vendor buildings for the Southern Railway Company and the Atlantic Coast Line Railroad. The Atlanta Constitution wrote, "The design for the Administration Building and Gateway is one of the handsomest of the entire Exhibition. The design…is a composite design of old baronial castles…these castlelatted turrets, those embattled ramparts, those ancient moats, the old swinging drawbridge, will prove a source of keen enjoyment and profit."<mask> received a gold medal from the Exposition Directors for "the designing and building all of the fifteen principal structures within the limit of time and appropriation." Albemarle Park & Manor Inn

After a family vacation in 1896, William Greene Raoul decided to make Asheville, North Carolina his family's summer home. Getting away from the heat of a Georgia summer may have been one goal, but his son Thomas contracted tuberculosis in 1897, and the mountain air of Asheville was believed to be a cure. Raoul and his son hired <mask> to design Albemarle Park, a park-like resort development on 32-acres just outside of Asheville. <mask> began with a small hotel called Manor Inn, five cottages (Clover, Columbus, Hollyhock, Marigold, and Milfoil), and the Lodge (or Gatehouse) where the Raouls lived at first. To suit the mountain setting, <mask> created a "resort with an English inn atmosphere," with grounds designed by landscape architect Samuel Parsons, Jr. This translated to a hybrid of Tudor Revival, Colonial Revival, Dutch Colonial Revival, and Shingle architectural styles, with exteriors that featured shingles, roughcast plaster, and timber framing.Built between 1898 and 1920, Albemarle Park would eventually consist of 42 structures—some designed by other architects—becoming one of America's first planned residential parks. Albemarle Park is now a National Register Historic District. The National Register says, "The Manor and Cottages compose a picturesque small historic district, evocative of Asheville's dramatic turn-of-the-century resort town boom era." English-American Building

In 1897, <mask> designed the English-American Building for Atlanta's English-American Loan and Trust Company—whose president was Rufus Bullock, a former Georgia governor. Located at the junction of Broad and Peachtree Streets, this triangular-shaped building with eleven stories was the second skyscraper in Atlanta. Its style was Neo-Classical and Neo-Renaissance, but the shape was modern. Within a year, the building's tenants included National Cash Register Co., Otis Bros. Co. (elevators), Rand McNally Co., Mutual Life Insurance Co., Southern Bell and many others along with its owners and the Knights of the Ku Klux Klan.Known as the Flatiron Building since 1916 because of it shape, this is the oldest remaining steel-framed skyscraper in Atlanta and one of the few non-railroad buildings by <mask> that survive today. Dr. Elizabeth Lyon says, "The building plays an important role in its urban setting by establishing a sense of dignity and scale and helping to create a visually interesting sequence of spaces and styles in the central business area of the city." South Carolina Inter-State and West Indian Exposition

<mask> was the supervising architect for the South Carolina Inter-State and West Indian Exposition in 1901. Remarkably, he was responsible for all aspects of this Charleston world's fair event, from the buildings to the 250 acre grounds to its infrastructure, including roads, water, sewage and electricity. <mask> designed 20 large buildings, including the 320 foot long Cotton Palace with and its 75 foot tall dome, and the Administration Building, Agriculture Palace, Art Palace, Auditorium, and the Sunken Garden & Conning Tower Sculpture. The main buildings, with their domes, arcades, finials, and brackets, were all painted in off-white, giving the Exposition its name the Ivory City—a play on the White City of the World's Columbian Exposition of 1893

<mask>'s instructions for this fair were to create a "Southern motif" which seems noticeably lacking in the Italian and Spanish-Revival style he used. However, <mask> gave the exposition a more romantic look than the Atlanta exposition, while also modernizing it with the Mediterranean-style that was, during the 1890s and early 20th-century, in fashion for commercial and residential buildings Rather than Southern plantation architecture, it  seems that <mask> was influenced by the fair's goal of reminding commercial interests of the once lucrative trade route between the West Indies and the port of Charleston.Thus, architect Bruce Harvey concludes "The architecture at Charleston's exposition both reflected and promoted this conscious hope for the future." The architectural critic Montgomery Schuyler wrote, "At Chicago they called the style Columbian; at Buffalo they called it Pan-American…in Charleston—the Spanish Renaissance of the Sixteenth Century." <mask>'s layout which divided the fair into sections suggests that he studied that of the widely successful Columbian Exposition. His idea was to split the grounds into areas for the natural and artificial, connect by a "narrow neck" that included the Administration Building. Like Frederick Law Olmsted in Chicago, <mask> used the natural setting—in this case, live oaks and magnolias along the Ashley River—to give structure to his Natural Section that included the Art, Machinery, Negro, various states, Transportation, and Women's Buildings. <mask> wrote that the Natural section "will form a natural park of endless beauty of vista and landscape effect naturalistic [sic. ]…a winding path of 100 feet in width will be carried underneath the overspreading live oaks along the edge of the embankment."The artificial or Art Section was formal with buildings that were architecturally similar: the Palaces of Agriculture, Commerce, and Cotton. <mask> sited this section over the former Washington Race Course, a flat area that was already treeless, allowing him to create "complex geometrical design" for the Court of Palaces which was surround with a sunken garden and connected by a colonnade. After the exposition, the majority of its temporary buildings were razed; the bandstand is the only structure from the event that survives. Personal
In 1872, <mask> married Cora Rathbone, daughter of the late Captain John Rathbone, in Brooklyn, New York. He was 19 and she was seventeen or eighteen years older. From its beginning, this was an unhappy marriage. <mask> was an elder with the University Presbyterian Church in New York City, and later an elder with the Westminster Presbyterian Church.He was a member of the American Institute of Architects—New York Chapter, the Architectural League of New York, the National Arts Club, the National Sculpture Society, the Quill Club, the Riding Club, and the Transportation Club, as well as the Chicago Club in Illinois. <mask> was a supporter and trustee of the McAuley Water Street Mission (now the New York City Rescue Mission) which was founded in 1887 by missionaries Jerry McAuley and his wife Maria, to give shelter and food to the poor. McAuley and his wife were Christian converts who were previously an alcoholic convict and an alcoholic prostitute, respectively. After her husband's death in 1884, Maria McAuley (née Fahy) became the Matron of the Cremorne Mission which <mask> was a trustee. In 1885, <mask> was secretary of a committee that was raising funds for a public drinking fountain in memory of McAuley. In 1908, <mask> built and outfitted the tugboat Jerry McAuley for use as a floating mission. <mask> separated from his wife in January 1887.In June 1887, he filed for an annulment in Jersey City, New Jersey, on the basis that he was underaged at the time of his marriage, with his wife being seventeen years his senior. On October 13, 1887, <mask> served her husband with divorce papers during the intermission of a prayer meeting at Cremorne Mission. Her claim was on the basis of infidelity, to be heard in the superior court at White Plains. At the same time, she served Maria McAuley with a $50,000 lawsuit for alienation of affections, with allegations that "were numerous and specific." Cora claimed she had been driven from her home, that her husband was abusive, and he "had been paying attention to Mrs. McAuley…nearly to McAuley's death. On October 16, 1887 at the Mission, <mask> made a public announcement saying, "If it did not affect this mission and the noble Christian woman who conducts it, I would remain silent. I suppose you have all read in today's papers…a story reflecting upon Mrs. McAuley and myself.I pronounce it totally false. All those who know me will take my word, and all those who do not know me will see by the result that what I say is true." Standing by <mask> were banker A.S Hatch, real estate agent Sidney Whittemore, Franklin W. Coe, and other ladies and gentlemen associated with McAuley Mission. Hatch also spoke, saying "The very fact that I am on this platform tonight is sufficient for the purpose without saying a word; but I may add that my faith in Mrs. McAuley and Mr. <mask> has not been shaken one jot by what has appeared in print, and I continue to have unwavering confidence in both." McAuley "emphatically denied" the allegations. Later, <mask> said his wife was influenced by would-be blackmailers. In a few years, <mask> obtained a divorce, and Cora withdrew the lawsuit against Maria.Five years later, McAuley's health declined and it was believed she would die. She resigned from her position at Cremorne Mission and moved to Cranford, New Jersey. <mask> discontinued his association with the Mission when McAuley left. On May 12, 1892 in Cranford, <mask> married McAuley "when her health was poor and took care of her." The newspaper announcement said they had courted for five years. He was 38 and she was 55. The <mask>s lived at 225 Park Place, Brooklyn, New York, and a summer home in the Catskills.They adopted their niece Blossom, the daughter of Maria's sister. Around 1887, <mask> acquired nearly 1000 acres in Roscoe, New York. There, he constructed his summer retreat, Beaverkill Lodge, named for the nearby river. This frame structure was clad in shingles and featured leaded Swiss-style sash windows, gas lighting, running water, and a turret Maria, who was an Irish immigrant, said the Catskill scenery reminded her of Ireland. She named the surrounding hamlet Craig-e-Clair which translates as "beautiful mountainside." The <mask>s sold the property in 1903. In 1907, Beaverkill Lodge was acquired by Ralph Wurts-Dundas who built Dundas Castle or Craig-e-Clair which apparently encapsulated Beaverkill Lodge, based on documentary photos.There is evidence that <mask> and Maria were close, with her joining him on various business trips. While designing the 1895 Cobblestone Church in Schenectady, New York, <mask> donated $800 to build its clock tower in honor of Maria. He incorporated a clock he acquired from the New York Central Railroad. <mask>, who was notoriously against ornamentation, also added Celtic designs to several buildings around the time of his marriage to Maria, including the Mason Stables and the Tower Building. On September 1, 1911 at age 58, <mask> died at his summer house in Accord, New York. According to one source, his last architectural design was for a new Cremorne Mission. Selected works
Many of the surviving buildings by <mask> are on the National Register of Historic Places (NRHP).References

External links

 Bradford Lee Gilbert history site
 Fire Engine Company No.258, Hook & Ladder Company No. 115, Landmark Designation Report
 Mason Stable Building, later Dakota Stable and Pyramid Garage, Landmark Designation Report
 Sketch Portfolio of Railroad Stations and Kindred Structures by <mask> (1895). Google Books. 1853 births
1911 deaths
19th-century American architects
Erie Railroad
People from Watertown, New York
Architects from New York (state)
Railway architects
20th-century American architects
Skyscraper

masks:
Gilbert
Gilbert
Bradford
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Cora Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Brandon Gilbert


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Lincoln Barrington "<mask>" <mask> (25 May 1956 – 10 July 2010) was a Jamaican reggae singer, producer and sound-system operator. Biography
After working as a selector on the Sound of Silence Keystone sound system, and then his own Gathering of Youth system, he began his singing career as part of The African Brothers in 1969, along with Tony Tuff and Derrick Howard. The group released several singles in the first half of the 1970s on labels such as Micron and their own Ital label, and were an early example of the Rastafari movement's influence on the Jamaican music scene, taking a clear lead from The Abyssinians. After recording "Mysterious Nature" for producer Rupie Edwards, the group recorded 1974's "No Cup No Broke" for Studio One, breaking up shortly after. <mask> then teamed up with the producer Clement "Coxsone" Dodd, as studio apprentice at Dodd's Studio One, working as a singer, guitarist and percussionist, and soon began recording his own singles. <mask> developed a talent for writing new songs to fit over existing rhythms (which at the time was common when singers performed live, but rare in the studio), often proving more popular than the original songs, pioneering an approach that would be central to the emerging dancehall style. After a number of moderately successful hits for Studio One, such as "Vanity", "Hang On Natty", "Mr. DC", and "Jah Jah Children", his debut LP Live Loving made his name and increased his popularity, and is regarded as pioneering the dancehall style that would dominate the early 1980s.It was followed in 1979 with a second album, Showcase, which included his singles that had been omitted from the first album. The Bittersweet album followed, and then the third album of 1979, Ghetto-ology, which saw a return to roots reggae. Roots Lovers (1980) saw a move towards lovers rock, which was a UK hit. He became a bigger star in the UK than in Jamaica, his self-produced "Hard Time Pressure" being a major UK reggae hit in 1980, leading <mask> to relocate to the UK, where he became a focus for UK reggae. Singles such as "Run Come", "Not for Sale", "African Girl", "Lovers Rock", "In a Dis Ya Time", "Africa" and "Make It with You" (with Carroll Thompson) were hits in the years that followed. "Good Thing Going" (a cover of a song originally recorded by Michael Jackson in 1971) was picked up for distribution by RCA and reached Number 4 in the UK Singles Chart in March 1981, leading to an album of the same name. The Herbman Hustling album saw a return to dancehall and roots reggae.He released an album of recordings from Channel One Studios, With Lots Of Extra in 1983, collecting several hits from his time working with Winston Holness. Returning to Jamaica, his Youth Promotion sound system performed regularly in Kingston's Maxfield Park, featuring Jah Stitch and newcomers who had been nurtured by his organization such as Ranking Joe, Captain Sinbad, and Ranking Dread. His Black Roots label featured his productions of these artists plus others such as Barry Brown, Tenor Saw, Little John, Tony Tuff, Barrington Levy, Horace Andy, and one of his discoveries from England, Trevor Hartley. <mask> also produced early works by Nitty Gritty, Junior Reid, Yami Bolo, Colourman, Daddy Freddy and Garnett Silk. In 1980s he was working with producers in Jamaica including, Mikey Dread, George Phang, Sly & Robbie, Philip "Fatis" Burrell, Channel One, Prince Jammy, and Donovan Germain, as well as recording for United States-based Lloyd "Bullwackie" Barnes (the Wicked A Go feel It album from 1984). His biggest hits included "Herbman Hustling", "No Vacancy", "Jamming in the Street", "Rub A Dub Sound", "Buy Off The Bar", "Rydim", and "Devil's Pickney". He linked up with Sly & Robbie for 1984's "Rub a Dub Sound Style" single, which is regarded as a prototype for the ragga style that developed in the mid-1980s.<mask> continued to record on his Black Roots label, Youth Promotion Label and for Major and Independent labels. His albums receive increasingly exciting reviews. He released over 60 albums and hundreds of singles. <mask> is one of the artists who appeared on the (2006) record, Radiodread, released by the Easy Star label, he provided the guest vocals on the song "Exit Music (For a Film)". <mask>'s desire for independence led him to leave Studio One in 1978 and form his own Black Roots Records label and Youth Promotion organization, the latter with the aim of helping young singers from the same ghetto background as himself. <mask> also ran the Youthman Promotion sound-system, giving young performers their first public exposure. Youthman Promotion has new selectors working alongside the veterans of Major Stitch, Ragga Steve and Drifter, Daddy Ants, Mr Shorty and Jimmy Knuckles.The selectors most recently added to the sound are DiGeneral Starry B in 2007, alongside Poochiny and Jr War, who were added in 2012. Ragga Steve has taken full control of the sound with <mask> in the UK. Death
<mask> died on 10 July 2010 at the University Hospital of the West Indies in St. Andrew Parish, Jamaica, after being admitted earlier that day. The cause of death remains undisclosed. He had been affected by a heart condition since early 2009, and cancelled several performances in May 2010 due to chest pains. In May 2012, a charity concert was held at his former home commemorating his birthday, with <mask>'s children (who include daughter Tamar, aka Pashon) joined by Bounty Killer, Sizzla, Beenie Man, Junior Reid, Ken Boothe and John Holt. Proceeds went to the Youthman Promotions Music Centre and other causes helping local poor people.Discography
Live Loving (1977, Studio One) Roots Archives states 1977, Discogs says release year is unknown
Showcase (1978, Studio One, probably a smaller edition in Jamaica by Studio One already 1977,); reissued in US as Showcase (1992, Heartbeat) with different mixing; reissued as Jah Jah Children 2012
Black Roots (1979, Black Roots Records & Gorgon Records in Jamaica; 1979 by Mango for US and 1980 by Island Records for UK and (Germany) with other, shorter names on the 10 songs). The LP-album Black Roots, released for the Jamaican market on Black Roots Records, Gorgon Records and Thunder Bolt is dated 1978, so the album is recorded before the year 1979. Daddy Freddy) (1994, Music of Life)
International (1996, RAS)
Musical Murder (1997, VP)
Good Thing Going (1998, VP)
Easy Squeeze (1999, World)
Simply the Best (2000), World
From the Heart (2000), Blackwacks
Leave Out a Babylon (2005), Discograph
In A Lovers Roots Style (2008), Pinnacle
Tribute to Studio One (2009), Tad's
New Day (2009), Stop Look Listen

Split albums
Rockers Award Winners (1985, Greensleeves) (<mask> Minott & Leroy Smart)
Double Dose (1987, Blue Mountain) (<mask>ott & Gregory Isaacs)
Showdown Volume 2 (Channel One) (<mask>ott & Frankie Paul)

Compilations
With Lots of Extra (1983, Hitbound)
Best of Vol 1 (1988, Black Roots)
Collectors Collection Vol 1 (1996, Black Roots)
RAS Portrait (1997, RAS)
Sugar Minott's Hidden Treasures (1999, Easy Star)
Hard Time Pressure: Reggae Anthology (2011, VP Records)

With the African Brothers

References

External links
Roots Archive discography
Interview by Ray Hurford

1956 births
2010 deaths
Musicians from Kingston, Jamaica
Jamaican reggae singers
Jamaican male singers
Island Records artists
Easy Star Records artists
VP Records artists
Heartbeat Records artists

masks:
Sugar
Minott
Minott
Minott
Minott
Minott
Sugar Minott
Minott
Minott
Minott
Earl Minott
Minott
Minott
Sugar
Sugar Min
Sugar Min


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<mask> (November 4, 1926 – December 4, 2007), better known as Patato, was a Cuban conga player. In 1954, he emigrated from La Habana to New York City where he continued his prolific career as a sideman for several jazz and Latin music ensembles, and occasionally as a bandleader. He contributed to the development of the tunable conga drum which revolutionized the use of the instrument in the US. His experimental descarga albums recorded for Latin Percussion are considered the counterpart to the commercial salsa boom of the 1970s. Tito Puente once called him "the greatest conguero alive today". Nicknames
Like most Cuban musicians, <mask> had several nicknames throughout his artistic career. Early on he was known as "El Toro" (The Bull) as a young dancer and boxer.In school he was known as "Patato" (Potato) due to his short stature; more disrespectfully he was known as "Remache" and "Tampón de bañera" around his neighbourhood. While playing alongside Armando Peraza in Havana's Zombie Club, he was known as "El Zombie", "Zombito" or "Pequeño Zombie" (Little Zombie). Due to his dancing style he was known as "Pingüino" (Penguin). Nonetheless, "Patato" was the name that stuck and he carried this pseudonym to the US, where he was often miscredited as "Potato Valdez". Life

Early life and career
<mask> Galán was born in the neighbourhood of Los Sitios in La Habana on November 4, 1926. His father, <mask> Brito, was a tres player who was part of the seminal coro de clave Los Apaches, and author of the son "Maldita timidez" recorded by Sexteto Habanero. The rest of his family included many other musicians and santeros; his cousin was the singer Francisco Fellove aka "El Gran Fellove".<mask> soon followed his father footsteps, learning to play the tres and a wide variety of percussion instruments, including the marímbula, the botija, the shekere, the tambourine, the cajón and the double bass. He became a member of the comparsa Las sultanas in which he played the congas (tumbadoras). He became a master of the instrument at a young age, playing alongside other greats such as Mongo Santamaría, Cándido Camero, Julito Collazo and Armando Peraza. The latter was his neighbour and partner in the Conjunto Kubavana led by Alberto Ruiz. He was only 18 years old when he joined this band in 1944. He left the group in 1947 to join the well-known Sonora Matancera, where he stayed for a year. From 1949 to 1954 he played for the Conjunto Casino, one of the most popular bands in La Habana at the time.In 1952, they toured New York City, where fellow drummer Cándido Camero decided to stay. Patato would make the same decision two years later. Exile
Attracted by New York's thriving jazz scene, Patato left Cuba indefinitely on October 5, 1954. His first full-length recording as a sideman was the notorious LP Afro-Cuban by Kenny Dorham. He went on to perform live alongside Mongo Santamaría and Tito Puente in Harlem. He then joined several ensembles, including those led by Willie Bobo, Machito and Charlie Palmieri. He recorded with jazz drummers Art Blakey, Art Taylor and Max Roach.By the early 1960s, Patato was amongst the most sought-after conga drummers in New York. His association with flautist and bandleader Herbie Mann would last over fifteen years. In 1959, the United States Department of State funded a trip for bandleader Herbie Mann to visit Africa, after they heard his version of "African Suite." The grueling 14-week tour took place between 12/31/1959 to 4/5/1960 featuring Mann (bandleader, flute and saxophone), Johnny Rae (vibraphone and arrangements), Don Payne (bass), Doc Cheatham (trumpet), Jimmy Knepper (trombone), <mask> "Patato" Valdés (congas) and José Mangual (bongos). They toured Sierra Leone, Liberia, Nigeria, Mozambique, Rhodesia, Tanganyika, Kenya, Ethiopia, Sudan, Morocco and Tunisia. Patato accompanied Dizzy Gillespie and Quincy Jones on extended tours throughout Europe. He acted in and composed the title song of The Bill Cosby Show.In 1977 he took part in the recording of Cachao's comeback albums. In 1991, he contributed to the movie soundtrack for The Mambo Kings Play Songs of Love. Patato was the leader of his own band, Afrojazzia, which toured Europe in the spring of 1994. In 1995 he recorded the album "Ritmo y candela" with fellow percussionists Changuito and Orestes Vilató. Similarly, together with Giovanni Hidalgo and Candido Camero he released an album in 2000 entitled The Conga Kings. That year he appeared in the documentary Calle 54. In 2001, Patato was inducted into the International Latin Music Hall of Fame.Death
A lifetime smoker, Patato had emphysema and died of respiratory failure in Cleveland, Ohio on December 4, 2007. Style and craft
For over 60 years <mask> "Patato" Valdés demonstrated how a musician could combine technical skill with superb showmanship. His conga playing demonstrated the fusion of melody and rhythm. It also reflected his keen understanding of rhythm as a biological constant that is rooted, quite literally, in the human heartbeat. During his performances, Patato even mastered the art of playing his congas while dancing on top of them, to the delight of the audience. Valdés dazzled audiences well into his seventies with his rumba moves. He is also the man who gave Brigitte Bardot a mambo lesson in the film And God Created Woman.Valdés also expressed his understanding of melody through bass and tres. During the late 1940s he helped develop the first tunable congas, as earlier models were tuned by the unwieldy method of heating them with a sterno can. His interest in design, as well as his friendship with LP Founder Martin Cohen, led to the development of the LP Patato Model Congas, one of the top-selling conga drums of all time. Personal life
Valdés was the father of <mask>, better known as Chick Hernández, a sports anchor/reporter for Comcast SportsNet/NBC sports. (Audio Fidelity, 1963)

With Dizzy Gillespie
The Ebullient Mr. Gillespie (Verve, 1959)
Have Trumpet, Will Excite! (Verve, 1959)
Portrait of Jenny (Perception, 1970)
With Benny Golson
Remembering Clifford (Milestone, 1998)
With Johnny Griffin & Matthew Gee
Soul Groove (Atlantic, 1963)

With Quincy Jones
Quincy Plays for Pussycats (Mercury, 1959-65 [1965])

With the Latin Percussion Jazz Ensemble
Just Like Magic (Latin Percussion Ventures, 1979)
Live at Montreux (Latin Percussion Ventures, 1980)

With Johnny Lytle
Swingin' at the Gate (Pacific Jazz, 1967)

With Machito
Kenya (Roulette, 1958)

With Herbie Mann
Flautista! (Verve, 1959)
Herbie Mann's African Suite (United Artists, 1959)
Right Now (Atlantic, 1962)
Brazil, Bossa Nova & Blues (UA Jazz, 1962)
Herbie Mann Live at Newport (Atlantic, 1963)
My Kinda Groove (Atlantic, 1965)
Herbie Mann Plays The Roar of the Greasepaint – The Smell of the Crowd (Atlantic, 1965)
Monday Night at the Village Gate (Atlantic, 1965 [1966])
Latin Mann (Columbia, 1965)
Standing Ovation at Newport (Atlantic, 1965)
Today!(Soul Jazz, 1997)
The Rough Guide to Salsa (World Music Network, 1997)
Diggin' the Crates for Afro-Cuban Funk (Empire Musicwerks, 2001)

References

External links

Cantrell, David & Sánchez Coll, Israel. El legado de Carlos Patato Valdés, Herencia Latina. <mask> "Patato" Valdez, Donald's Encyclopedia of Popular Music. <mask>Patato" Valdés, AllMusic. <mask> "Patato" Valdés, Discogs. <mask> "Patato" Valdés, Rate Your Music. 1926 births
2007 deaths
American entertainers of Cuban descent
Conga players
Cuban emigrants to the United States
Cuban percussionists
Jazz percussionists
Deaths from respiratory failure
Chesky Records artists

masks:
Carlos Valdés Galán
Carlos Valdés
Carlos Valdés
Carlos Valdés
Carlos
Carlos
Carlos
Carlos Hernández
Carlos
Carlos "
Carlos
Carlos


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<mask> (also known as Sleazy, 27 February 1955 – 25 November 2010) was an English musician, video director, commercial artist, designer and photographer, and former member of British design agency Hipgnosis. He also founded the Industrial Records band Throbbing Gristle (TG). After the disbandment of Throbbing Gristle, he participated in the formation of Psychic TV along with Genesis P-Orridge and Geoff Rushton—Rushton later changed his name to John Balance. After his short time in Psychic TV, <mask> formed Coil with Balance, which lasted for just under 23 years, until Balance died of a fall in the Weston-super-Mare home he shared with <mask>. <mask> participated in the reunification of Throbbing Gristle and, after his relocation to Thailand in 2005, composed an album for his solo endeavour The Threshold HouseBoys Choir. <mask> died in his sleep on 25 November 2010. Early life
<mask> was born on 27 February 1955 in Leeds, Yorkshire, England.His father, Derman <mask>, was a professor of engineering who became master of Magdalene College, Cambridge prior to receiving a knighthood. Following school, <mask> studied computer programming, theatre design and video at the State University of New York at Buffalo (SUNY Buffalo) in New York, United States (US). Music
<mask> was a founding member of Throbbing Gristle, who are credited with creating the industrial music genre before disbanding in 1981. Throbbing Gristle members Chris Carter and Cosey Fanni Tutti formed their own group, while <mask> and the band's other member P-Orridge formed Psychic TV with Balance and other musicians. Balance met <mask> as a Throbbing Gristle fan and the two became intimate partners. <mask> worked on the first two Psychic TV albums, Force the Hand of Chance and Dreams Less Sweet, joined by Balance on the latter. The two performed live several times with Psychic TV prior to forming their own project Coil.Coil consisted of <mask> and Balance, while Steven E. Thrower occasionally played bass guitar and drums. Balance was the lyricist and also played Chapman Stick and some keyboards. Over two decades, Coil released myriad recordings, in addition to contributing to the work of other artists. They recorded parts of the album The New Backwards at Nothing Studios in New Orleans, owned by musician Trent Reznor at the time. In the liner notes of the 2008 CD release, <mask> wrote: "Thanks to everyone there, especially Trent Reznor who made it all possible." Despite <mask>'s long and extensive history as a musical artist, he only released two tracks under the name "<mask>". The first, "In My Head A Crystal Sphere of Heavy Fluid", appeared on the compilation Foxtrot, a benefit album for Balance's rehabilitation from alcohol dependence, while the second, "All Possible Numbers", appeared eleven years later on Autumn Blood (Constructions) released on Fourth Dimension Records.In 2005, following the death of Balance, <mask> relocated from England to Bangkok, Thailand and founded the solo project The Threshold HouseBoys Choir. He also released the final Coil CDs—The Remote Viewer, Black Antlers, ...And The Ambulance Died in His Arms and The New Backwards—on the band's own Threshold House label. In addition to the CD releases, <mask> also released a 16-DVD box set following his relocation, entitled Colour Sound Oblivion, that was produced in a wooden box, in which a fifteen-page booklet, the program for Balance's funeral ceremony and a large collection of 6-inch × 4-inch postcards (mainly tour photographs) were also included. Throbbing Gristle also reformed for a few concerts in 2005 and announced a new album called Part Two. The group announced several additional concerts in 2007 for the promotion of the album. In 2007 <mask> released the debut album of The Threshold HouseBoys Choir. The album, Form Grows Rampant, consists of five "parts" or songs, and includes a DVD of the album set to video footage of Thai rituals in Krabi, Thailand.One tour promoter who organized a Threshold HouseBoys Choir concert described it as "easily the most shocking thing I have ever experienced". In 2008 <mask> and Ivan Pavlov (aka CoH) started a new project called Soisong. The band officially premiered in Tokyo on 9 March 2008 and later performed several shows in Europe, having self-released their debut EP. As part of the tour, Soisong performed a live soundtrack to Derek Jarman's film Blue in Rovereto, Italy. In April of the same year, <mask> and Pavlov, alongside David Tibet, Othon Mataragas and Ernesto Tomasini, also performed a live soundtrack for The Angelic Conversation in Turin, Italy. In 2009 Soisong recorded their first full-length album xAj3z, the release of which was followed by a European Reunion Tour and a worldwide campaign in search of the band's missing virtual vocalists featured on the record. In 2010 Soisong declared a "Split Phase 2010", during which all of the members would concentrate on their personal work; however, two independently recorded solo EPs, both entitled Soisong, were scheduled for release.<mask> never finalized his work for the release, but Soisong Split was eventually published in September 2012, nearly two years after <mask>'s death. The release consists of a CoH Soisong EP by Pavlov, originally recorded in 2010, and a collection of four unpublished sketches by <mask> that were made available on the band's website. In 2010 <mask> started collaborating with Hirsute Pursuit, featuring Harley Phoenix and Bryin Dall, via email. They finished two songs together, "One Sleazy Night in Bangkok" and "One Sleazy Night in New Orleans", for the album Tighten That Muscle Ring. The album was signed to Cold Spring Records, but <mask> died prior to its release. Writing for the Quietus online publication, Luke Turner claimed that the album was "the most sexy and perverted album of 2012". Also in 2010, <mask> was sent an iPad by musician Trent Reznor that contained music for a potential collaboration.Reznor had asked for his blessing to use the moniker "How to Destroy Angels" for a musical project that Reznor was creating with his wife (<mask> had used the phrase in 1982, as the title of the first recording released by Coil). <mask> responded amenably, suggesting that they could potentially collaborate as part of the project. <mask> explained that Reznor was a "perfect gentleman" in regard to the way in which the matter was negotiated; however, <mask> died before he was able to resend the iPad back to Reznor with his contribution. The final music that was ever recorded by <mask> occurred in Bangkok, Thailand with a project named "Electric Sewer Age" that also involved musician Danny Hyde. The original intention of the recordings was to complete a series of releases called "Moons Milk", but an album called In Final Phase was eventually released in 2013, with only 999 numbered CD copies made available. The CD is packaged in record sleeve-style thickened cardboard, and each copy is numbered from 1 to 999, while the insert sleeve displays a picture of <mask> in his Bangkok studio that was taken at the moment that the recording was completed. Musical innovator

Writing for The Guardian, Dave Simpson credited <mask> with using digital samplers on-stage before the Fairlight CMI popularised sampling.Also writing for The Guardian, Alexis Petridis described Carter and <mask> as "pioneers in technology", and noted a sampler that Carter had custom-built for <mask> a number of years before sampling became popular. <mask> explained Carter's construction and musical experimentation in a 1987 interview with Keyboard magazine:
It was a box that [TG synthesist] Chris Carter made for me, to my design that basically switched on and off – through inputs on tape recorders – six cassette machines, the output of each going to a different key. Many of the machines I used in TG were cassette machines that were stripped down and altered to play backward and forward and four tracks at once, the speed variable by flywheels. The very first sampling device there ever was, as far as I know, was manufactured by Mountain Hardware for Apple computers. It was designed to reproduce voice samples, and had a very limited selection of pitches. I was using that onstage in '79 or '80, which was before the first Fairlight was used commercially. So I've always had a soft spot for sampling.Design, photography, commercial art and film
Prior to his musical projects, <mask> was a commercial artist, designer, and photographer. Notably, he was one of the three partners of the album cover design group Hipgnosis, which was responsible for many notable album covers of the 1970s, such as those of Pink Floyd (Wish You Were Here) and <mask> (first three albums). He also designed the logo of UK fashion label BOY London. As a freelance photographer, <mask> shot the first promotional images of the Sex Pistols in 1976. He later provided design work for SEX, the fashion boutique owned by Malcolm McLaren and Vivienne Westwood. <mask> remained involved with commercial art up until his later life. He directed over 40 music videos—for artists such as Rage Against the Machine, The The, Van Halen, Sepultura and Robert Plant—and was responsible for a high number of television commercials.He filmed and directed the Threshold HouseBoys Choir DVD that was filmed in Thailand, as well as the infamous Broken. November 2014 saw the publication of a big retrospective book simply called "<mask> Christopherson - Photography" by Edition Timeless, collecting a lot of unseen photos from all areas of his work in photography but focusing on his private work. Death
<mask> died in his sleep on 25 November 2010, aged 55. The cause of  death was never made public. At the time of his death, <mask> was working on a complete re-working of Nico's 1970 album Desertshore, to be released as a Throbbing Gristle album. Legacy
In addition to numerous other tributes, P-Orridge wrote a lengthy eulogy for <mask>, in which they concluded:

Sleazy loved Bangkok and Thailand. He had been visiting regularly for several years before deciding to move there permanently after John/Jhonn/Geoff passed on.While we were spending time in 2009 with him we were pretty sick from the intense emotional stress of our ceremony in Nepal for the reliving and releasing of a beloved. Sleazy became a source of every suture for my heart, loving sustenance for my soul. He nurtured me with words of wise counsel garnered from his own similar and tragic losses. There had been a long sometimes desolate expanse between the seventies and now. But we had both crossed our abyss and we were blessed by Sleazy’s loving nature to be able to accept his gentle embrace and, crying like a child we often are, be able to lovingly say to him, “I HAVE GOT MY FRIEND BACK.” Many times, since then, we have stopped during hard times, confusing times, and we think of Sleazy and how his mastery of light went from cameras to hearts and souls, and that makes me smile and laugh. Which is as he would wish. We loved Sleazy in all he did…

<mask> published a brief post on his website on 26 November 2010 that opened with the statement: "We tip our hats to Mr <mask>son".Speaking to the Quietus website in February 2014, Reznor stated: "[Coil's] 'Tainted Love' video remains one of the greatest music videos of all time ... If it's not immediately obvious: Horse Rotorvator was deeply influential on me. What they did to your senses. What they could do with sound. What Jhonn was doing lyrically ... <mask> was a lovely guy. We had a respectful relationship." Discography

Solo as <mask>
"In My Head A Crystal Sphere of Heavy Fluid" on Foxtrot (1998)
"All Possible Numbers" on Autumn Blood (Constructions) (2009)
"Time Machines II" (Posthumously released in 2014)
"The Art Of Mirrors - Homage To Derek Jarman" (Posthumously released in 2015)

Solo as The Threshold HouseBoys Choir
 ...It Just Is compilation contains the track "Mahil Athal Nadrach".(CD) (2005)
 X-Rated: The Dark Files compilation contains the track "So Young It Knows No Maturing". (CD) (2006)
 Form Grows Rampant debut album. (CD+DVD) (2007)
 Brainwaves 2008 compilation contains "Cap Rot Taxi" (CD) (2008)
 Amulet Edition limited release (200 pcs) 4 mini-cds in Amulet package (CD) (2008)

With SoiSong
 Soijin-No-Hi Octagonal CDEP / free download EP from www.soisong.com from March (2008)
 xAj3z Octagonal CD housed in fold out custom sleeve with colour inlay (2009)
 Soisong Octagonal COH CDEP / free download Sleazy EP from www.soisong.com (2010)

With Psychic TV
 Force the Hand of Chance
 Just Drifting
 Dreams Less Sweet
 Berlin Atonal Vol. 1
 Berlin Atonal Vol. 2
 N.Y. Scum
 Mein-Goett-In-Gen

Other contributions

Album artwork credits
This from <mask> "Sleazy" <mask> himself: "I worked as a free-lance photographer and contributor, then promoted to an assistant to Hipgnosis before becoming a partner, and continued to act also after I officially left the organization. So my contributions range from attempted but rejected artwork or design work, to partial contribution in either/both as an assistant, to being fully responsible for all design and artwork, such as the Peter Gabriel LPs. What you wish to document is up to you."

masks:
Peter Martin Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Peter Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Peter Gabriel
Christopherson
Christopherson
Peter
Christopherson
Christopherson
Christopherson
Peter Gabriel
Peter Christopher
Peter
Peter Christopherson
Peter
Christopherson


text_chunks:
Stefani Joanne Angelina Germanotta (born March 28, 1986), known professionally as <mask>, is an American singer, songwriter, and actress. She is known for her image reinventions and musical versatility. <mask> began performing as a teenager, singing at open mic nights and acting in school plays. She studied at Collaborative Arts Project 21, through New York University's Tisch School of the Arts, before dropping out to pursue a career in music. After Def Jam Recordings canceled her contract, she worked as a songwriter for Sony/ATV Music Publishing, where she signed a joint deal with Interscope Records and Akon's label, KonLive Distribution, in 2007. <mask> rose to prominence the following year with her debut studio album, The Fame, and its chart-topping singles "Just Dance" and "Poker Face". The album was later reissued to include the EP The Fame Monster (2009), which yielded the successful singles "Bad Romance", "Telephone", and "Alejandro".<mask>'s five succeeding studio albums all debuted atop the US Billboard 200. Her second full-length album, Born This Way (2011), explored electronic rock and techno-pop and sold more than one million copies in its first week. The title track became the fastest-selling song on the iTunes Store, with over one million downloads in less than a week. Following her EDM-influenced third album, Artpop (2013), and its lead single "Applause", <mask> released the jazz album Cheek to Cheek (2014) with Tony Bennett, and the soft rock album Joanne (2016). She also ventured into acting, playing leading roles in the miniseries American Horror Story: Hotel (2015–2016), for which she received a Golden Globe Award for Best Actress, and the critically acclaimed musical drama film A Star Is Born (2018). Her contributions to the latter's soundtrack, which spawned the chart-topping single "Shallow", made her the first woman to win an Academy, BAFTA, Golden Globe, and Grammy Award in one year. <mask> returned to her dance-pop roots with her sixth studio album, Chromatica (2020), which yielded the number-one single "Rain on Me".She followed this with her second collaborative album with Bennett, Love for Sale, and a starring role in the biographical crime film House of Gucci, both in 2021. Having sold 124 million records as of 2014, <mask> is one of the world's best-selling music artists and the fourth highest-earning female musician of the 2010s. Her accolades include 12 Grammy Awards, 18 MTV Video Music Awards, 16 Guinness World Records, awards from the Songwriters Hall of Fame and the Council of Fashion Designers of America, and recognition as Billboards Artist of the Year (2010) and Woman of the Year (2015). She has also been included in several Forbes power rankings and ranked fourth on VH1's Greatest Women in Music (2012). Time magazine named her one of the 100 most influential people in the world in 2010 and 2019 and placed her on their All-Time 100 Fashion Icons list. Her philanthropy and activism focus on mental health awareness and LGBT rights; in 2012, she founded the Born This Way Foundation, a non-profit organization aiming to empower youth, improve mental health, and prevent bullying. <mask>'s business ventures include Haus Laboratories, a vegan cosmetics brand that launched in 2019.Life and career

1986–2004: Early life
Stefani Joanne Angelina Germanotta was born on March 28, 1986, at Lenox Hill Hospital in Manhattan, New York City, to an upper middle class Catholic family. Both of her parents have Italian ancestry. Her parents are Cynthia Louise (), a philanthropist and business executive, and Internet entrepreneur Joseph Germanotta, and she has a younger sister named Natali. Brought up on the Upper West Side of Manhattan, <mask> said in an interview that her parents came from lower-class families and worked hard for everything. From age eleven, she attended the Convent of the Sacred Heart, a private all-girls Roman Catholic school. <mask> has described her high-school self as "very dedicated, very studious, very disciplined" but also "a bit insecure". She considered herself a misfit and was mocked for "being either too provocative or too eccentric".<mask> began playing the piano at age four when her mother insisted she become "a cultured young woman". She took piano lessons and practiced through her childhood. The lessons taught her to create music by ear, which she preferred over reading sheet music. Her parents encouraged her to pursue music and enrolled her in Creative Arts Camp. As a teenager, she played at open mic nights. <mask> played the lead roles of Adelaide in the play Guys and Dolls and Philia in the play A Funny Thing Happened on the Way to the Forum at Regis High School. She also studied method acting at the Lee Strasberg Theatre and Film Institute for ten years.<mask> unsuccessfully auditioned for New York shows, though she did appear in a small role as a high-school student in a 2001 episode of The Sopranos titled "The Telltale Moozadell". She later said of her inclination towards music:

In 2003, at age 17, <mask> gained early admission to Collaborative Arts Project 21, a music school at New York University (NYU)'s Tisch School of the Arts, and lived in an NYU dorm. She studied music there, and improved her songwriting skills by writing essays on art, religion, social issues and politics, including a thesis on pop artists Spencer Tunick and Damien Hirst. In 2005, she withdrew from school during the second semester of her second year to focus on her music career. That year, she also played an unsuspecting diner customer for MTV's Boiling Points, a prank reality television show. In a 2014 interview, <mask> said she had been raped at age 19, for which she later underwent mental and physical therapy. She has post-traumatic stress disorder (PTSD) which she attributes to the incident, and credits support from doctors, family and friends with helping her.<mask> later gave additional details about the rape, including that "the person who raped me dropped me off pregnant on a corner at my parents' house because I was vomiting and sick. Because I'd been being abused. I was locked away in a studio for months." 2005–2007: Career beginnings
In 2005, <mask> recorded two songs with hip-hop artist Melle Mel for an audio book accompanying Cricket Casey's children's novel The Portal in the Park. She also formed a band called the SGBand with some friends from NYU. They played gigs around New York and became a fixture of the downtown Lower East Side club scene. After the 2006 Songwriters Hall of Fame New Songwriters Showcase at The Cutting Room in June, talent scout Wendy Starland recommended her to music producer Rob Fusari.Fusari collaborated with <mask>, who traveled daily to New Jersey, helping to develop her songs and compose new material. The producer said they began dating in May 2006, and claimed to have been the first person to call her "<mask>", which was derived from Queen's song "Radio Ga Ga". Their relationship lasted until January 2007. Fusari and <mask> established a company called Team Lovechild, LLC to promote her career. They recorded and produced electropop tracks, sending them to music industry executives. Joshua Sarubin, the head of Artists and repertoire (A&R) at Def Jam Recordings, responded positively and, after approval from Sarubin's boss Antonio "L.A." Reid, <mask> was signed to Def Jam in September 2006. She was dropped from the label three months later and returned to her family home for Christmas.<mask> began performing at neo-burlesque shows, which according to her represented freedom. During this time, she met performance artist <mask>, who helped mold her onstage persona. The pair began performing at downtown club venues like the Mercury Lounge, The Bitter End, and the Rockwood Music Hall. Their live performance art piece, known as "Lady Gaga and the Starlight Revue" and billed as "The Ultimate Pop Burlesque Rockshow", was a tribute to 1970s variety acts. They performed at the 2007 Lollapalooza music festival. Having initially focused on avant-garde electronic dance music, <mask> began to incorporate pop melodies and the glam rock style of David Bowie and Queen into her songs. While <mask> and Starlight were performing, Fusari continued to develop the songs he had created with her, sending them to the producer and record executive Vincent Herbert.In November 2007, Herbert signed <mask> to his label Streamline Records, an imprint of Interscope Records, established that month. <mask> later credited Herbert as the man who discovered her. Having served as an apprentice songwriter during an internship at Famous Music Publishing, <mask> struck a music publishing deal with Sony/ATV. As a result, she was hired to write songs for Britney Spears, New Kids on the Block, Fergie, and The Pussycat Dolls. At Interscope, musician Akon was impressed with her singing abilities when she sang a reference vocal for one of his tracks in studio. Akon convinced Jimmy Iovine, chairman and CEO of Interscope Geffen A&M Records (a brother company for Def Jam), to form a joint deal by having <mask> also sign with his own label KonLive, making her his "franchise player". In late 2007, <mask> met with songwriter and producer RedOne.She collaborated with him in the recording studio for a week on her debut album, signing with Cherrytree Records, an Interscope imprint established by producer and songwriter Martin Kierszenbaum; she also wrote four songs with Kierszenbaum. Despite securing a record deal, she said that some radio stations found her music too "racy", "dance-oriented", and "underground" for the mainstream market, to which she replied: "My name is <mask>, I've been on the music scene for years, and I'm telling you, this is what's next." 2008–2010: Breakthrough with The Fame and The Fame Monster
By 2008, <mask> had relocated to Los Angeles to work extensively with her record label to complete her debut album, The Fame, and to set up her own creative team called the Haus of <mask>, modeled on Andy Warhol's The Factory. The Fame was released on August 19, 2008, and reached number one in Austria, Canada, Germany, Ireland, Switzerland and the UK, as well as the top five in Australia and the US. Its first two singles, "Just Dance" and "Poker Face", reached number one in the United States, Australia, Canada and the UK. The latter was also the world's best-selling single of 2009, with 9.8 million copies sold that year, and spent a record 83 weeks on Billboard magazine's Digital Songs chart. Three other singles, "Eh, Eh (Nothing Else I Can Say)", "LoveGame" and "Paparazzi", were released from the album; the lattermost reached number one in Germany.Remixed versions of the singles from The Fame, except "Eh, Eh (Nothing Else I Can Say)", were included on Hitmixes in August 2009. At the 52nd Annual Grammy Awards, The Fame and "Poker Face" won Best Dance/Electronica Album and Best Dance Recording, respectively. Following her opening act on the Pussycat Dolls' 2009 Doll Domination Tour in Europe and Oceania, <mask> headlined her worldwide The Fame Ball Tour, which ran from March to September 2009. While traveling the globe, she wrote eight songs for The Fame Monster, a reissue of The Fame. Those new songs were also released as a standalone EP on November 18, 2009. Its first single, "Bad Romance", was released one month earlier and went number one in Canada and the UK, and number two in the US, Australia and New Zealand. "Telephone", with Beyoncé, followed as the second single from the EP and became <mask>'s fourth UK number one.Its third single was "Alejandro", which reached number one in Finland and attracted controversy when its music video was deemed blasphemous by the Catholic League. Both tracks reached the top five in the US. The video for "Bad Romance" became the most watched on YouTube in April 2010, and that October, <mask> became the first person with more than one billion combined views. At the 2010 MTV Video Music Awards, she won eight awards from 13 nominations, including Video of the Year for "Bad Romance". She was the most nominated artist for a single year, and the first woman to receive two nominations for Video of the Year at the same ceremony. The Fame Monster won the Grammy Award for Best Pop Vocal Album, and "Bad Romance" won Best Female Pop Vocal Performance and Best Short Form Music Video at the 53rd Annual Grammy Awards. In 2009, <mask> spent a record 150 weeks on the UK Singles Chart and became the most downloaded female act in a year in the US, with 11.1 million downloads sold, earning an entry in the Guinness Book of World Records.The Fame and The Fame Monster together have since sold more than 15 million copies worldwide. This success allowed <mask> to start her second worldwide concert tour, The Monster Ball Tour, and release The Remix, her final record with Cherrytree Records and among the best-selling remix albums of all time. The Monster Ball Tour ran from November 2009 to May 2011 and grossed $227.4 million, making it the highest-grossing concert tour for a debut headlining artist. Concerts performed at Madison Square Garden in New York City were filmed for an HBO television special, <mask> Presents the Monster Ball Tour: At Madison Square Garden. <mask> also performed songs from her albums at the 2009 Royal Variety Performance, the 52nd Annual Grammy Awards, and the 2010 Brit Awards. Before Michael Jackson's death, <mask> was set to take part in his canceled This Is It concert series at the O2 Arena in the UK. During this era, <mask> ventured into business, collaborating with consumer electronics company Monster Cable Products to create in-ear, jewel-encrusted headphones called Heartbeats by <mask>.She also partnered with Polaroid in January 2010 as their creative director and announced a suite of photo-capture products called Grey Label. Her collaboration with her past record producer and ex-boyfriend Rob Fusari led to a lawsuit against her production team, Mermaid Music LLC. At this time, <mask> was tested borderline positive for lupus, but claimed not to be affected by the symptoms and hoped to maintain a healthy lifestyle. 2011–2014: Born This Way, Artpop, and Cheek to Cheek
In February 2011, <mask> released "Born This Way", the lead single from her studio album of the same name. The song sold more than one million copies within five days, earning the Guinness World Record for the fastest selling single on iTunes. It debuted atop the Billboard Hot 100, becoming the 1,000th number-one single in the history of the charts. Its second single "Judas" followed two months later, and "The Edge of Glory" served as its third single.Both reached the top 10 in the US and the UK. Her music video for "The Edge of Glory", unlike her previous work, portrays her dancing on a fire escape and walking on a lonely street, without intricate choreography and back-up dancers. Born This Way was released on May 23, 2011, and

masks:
Lady Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Lady Gaga
Gaga
Gaga
Gaga
Lady Starlight
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Lady Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Gaga
Lady Gaga
Gaga
Gaga
Gaga
Lady Gaga
Gaga
Gaga