text_chunks:
 buy a platinum fob chain for Jim's watch; while unbeknownst to Della, Jim sells his own most valuable possession, his watch, to buy jeweled combs for Della's hair.The essential premise of this story has been copied, re-worked, parodied, and otherwise re-told countless times in the century since it was written. "The Ransom of Red Chief" in which two men kidnap a boy of ten years old to ransom him. The boy turns out to be so spoiled and obnoxious that the desperate men ultimately pay the boy's father $250 to take him back. "The Cop and the Anthem" about a New York City hobo named Soapy who sets out to get arrested so that he can be a guest of the city jail instead of sleeping out in the cold winter. Despite his best efforts at committing petty theft, vandalism, disorderly conduct, and "flirting" with a young prostitute, Soapy fails to draw the attention of the police. Dejected, he stops in front of a church, where an organ anthem inspires him to clean up his life; however, he is charged with loitering, and sentenced to three months in prison. "A Retrieved Reformation" tells the tale of safecracker Jimmy Valentine, a man recently freed from prison.He goes to a town bank to case it before he robs it. As he walks to the door, he catches the eye of the banker's beautiful daughter. They immediately fall in love and Valentine decides to give up his criminal career. He moves into the town, taking up the identity of Ralph Spencer, a shoemaker. Just as he is about to leave to deliver his specialized tools to an old associate, a lawman who recognizes him arrives at the bank. Jimmy and his fiancée and her family are at the bank, inspecting a new safe when a child accidentally gets locked inside the airtight vault. Knowing it will seal his fate, Valentine opens the safe to rescue the child.However, much to Valentine's surprise, the lawman denies recognizing him and lets him go. "The Duplicity of Hargraves" tells the story of the Talbots, a father and daughter from the Old South who move to Washington, DC, newly poor after the Civil War. An actor, Hargraves, offers Mr. Talbot money, which he is too proud to accept. But when Talbot is approached by an old man, a former slave who gives him money to settle an old family debt, he accepts it. It is later revealed that Hargraves secretly portrayed the slave. "The Caballero's Way" in which Porter's most famous character, the Cisco Kid, is introduced. It was first published in 1907 in the July issue of Everybody's Magazine and collected in the book Heart of the West that same year.In later film and TV depictions, the Kid would be portrayed as a dashing adventurer, perhaps skirting the edges of the law, but primarily on the side of the angels. In the original short story, the only story by Porter to feature the character, the Kid is a murderous, ruthless border desperado, whose trail is dogged by a heroic Texas Ranger. Pen name
Porter used a number of pen names (including "O. <mask>" or "<mask>") in the early part of his writing career; other names included S.H. Peters, James L. Bliss, T.B. Dowd, and Howard Clark. Nevertheless, the name "O. <mask>" seemed to garner the most attention from editors and the public, and was used exclusively by Porter for his writing by about 1902. He gave various explanations for the origin of his pen name.In 1909 he gave an interview to The New York Times, in which he gave an account of it:

William Trevor writes in the introduction to The World of O. Henry: Roads of Destiny and Other Stories (Hodder & Stoughton, 1973) that "there was a prison guard named <mask> <mask>" in the Ohio State Penitentiary "whom William Sydney Porter ... immortalised as O. <mask>". According to J. F. Clarke, it is from the name of the French pharmacist Etienne <mask> <mask>, whose name is in the U.S. Dispensary which Porter used working in the prison pharmacy. Writer and scholar Guy Davenport offers his own hypothesis: "The pseudonym that he began to write under in prison is constructed from the first two letters of Ohio and the second and last two of penitentiary." Legacy
The O. Henry Award is a prestigious annual prize named after Porter and given to outstanding short stories. A film was made in 1952 featuring five stories, called O. <mask>'s Full House. The episode garnering the most critical acclaim was "The Cop and the Anthem" starring Charles Laughton and Marilyn Monroe. The other stories are "The Clarion Call" starring Richard Widmark, "The Last Leaf", "The Ransom of Red Chief" (starring Fred Allen and <mask>), and "The Gift of the Magi".A 1957 television series The O. Henry Playhouse was syndicated in 39 episodes to 188 markets. Actor Thomas Mitchell portrayed O<mask> in each episode as he interacted with his characters or related his latest story to his publisher or a friend. The 1986 Indian anthology television series Katha Sagar adapted several of <mask>'s short stories as episodes including "The Last Leaf". An opera in one long act, The Furnished Room, with music by Daniel Steven Crafts and libretto by Richard Kuss, is based on O<mask>'s story of the same name. The O. Henry House and O. Henry Hall, both in Austin, Texas, are named for him. O. Henry Hall, now owned by the Texas State University System, previously served as the federal courthouse in which O. <mask> was convicted of embezzlement. The O. Henry House has been the site of the O. Henry Pun-Off, an annual spoken word competition inspired by Porter's love of language, since 1978.Porter has elementary schools named for him in Greensboro, North Carolina (William Sydney Porter Elementary) and Garland, Texas (O. Henry Elementary), as well as a middle school in Austin, Texas (O. Henry Middle School). The O. Henry Hotel in Greensboro is also named for Porter, as is US 29 which is O. Henry Boulevard. In 1962, the Soviet Postal Service issued a stamp commemorating O<mask>'s 100th birthday. On September 11, 2012, the United States Postal Service issued a stamp commemorating the 150th anniversary of O. <mask>'s birth. On November 23, 2011, <mask> quoted O. <mask> while granting pardons to two turkeys named "Liberty" and "Peace". In response, political science professor P. S. Ruckman Jr. and Texas attorney Scott Henson filed a formal application for a posthumous pardon in September 2012, the same month that the U.S. Postal Service issued its O. Henry stamp.Previous attempts were made to obtain such a pardon for Porter in the administrations of Woodrow Wilson, Dwight Eisenhower, and Ronald Reagan, but no one had ever bothered to file a formal application. Ruckman and Henson argued that Porter deserved a pardon because (1) he was a law-abiding citizen prior to his conviction; (2) his offense was minor; (3) he had an exemplary prison record; (4) his post-prison life clearly indicated rehabilitation; (5) he would have been an excellent candidate for clemency in his time, had he but applied for pardon; (6) by today's standards, he remains an excellent candidate for clemency; and (7) his pardon would be a well-deserved symbolic gesture and more. The pardon remains ungranted. In 2021 the Library of America included O<mask> in their list by publishing a collection of 101 of his stories, edited by Ben Yagoda. Bibliography

Stories

Collections:
 Cabbages and Kings (1904), novel consisting of linked stories. 2692. Stories: "A Night Errant", "In Mezzotint", "The Dissipated Jeweller", "How Willie Saved Father", "The Mirage on the Frio", "Sufficient Provocation", "The Bruised Reed", "Paderewski's Hair", "A Mystery of Many Centuries", "A Strange Case", "Simmons' Saturday Night", "An Unknown Romance", "Jack the Giant Killer", "The Pint Flask", "An Odd Character", "A Houston Romance", "The Legend of San Jacinto", "Binkley's Practical School of Journalism", "A New Microbe", "Vereton Villa", "Whisky Did It", "Nothing New Under the Sun", "Led Astray", "A Story for Men", "How She Got in the Swim", "The Barber Talks", "Barber Shop Adventure"
 Part two.Sketches: "Did You See the Circus", "Thanksgiving Remarks", "When the Train Comes in", "Christmas Eve", "New Year's Eve and Now it Came to Houston", "Watchman, What of the Night? ", "Newspaper Poets"
 Part three. Newspaper Poetry: "Topical Verse", "Cap Jessamines", "The Cricket", "My Broncho", "The Modern Venus", "Celestial Sounds", "The Snow", "Her Choice", "Little Things, but Ain't They Whizzers? ", "Last Fall of the Alamo"

Uncollected short stories:

 "Tictocq, the Great French Detective" (1894)
 "Tictocq, the Great French Detective; or, A Soubrette’s Diamonds" (1894)
 "A Blow All 'Round" (1895)
 "A Chicago Proposal" (1895)
 "A Fishy Story" (1895)
 "A Foretaste" (1895)
 "A Literal Caution" (1895)
 "A Philadelphia Diagnosis" (1895)
 "A Thousand Dollar Poem, was what the Literary Judgment of the Business Manager Lost for the Paper" (1895)
 "All Right" (1895)
 "And Put Up a Dime" (1895)
 "Arrived" (1895)
 "As Her Share" (1895)
 "Ballad of the Passionate Eye" (1895)
 "Cheaper in Quantities" (1895)
 "Didn't Want Him Back" (1895)
 "Do You Know?" (1895)
 "Enlarging His Field" (1895)
 "Entirely Successful" (1895)
 "Extremes Met" (1895)
 "False to His Colors" (1895)
 "Family Pride" (1895)
 "He Was Behind With His Board" (1895)
 "Her Reckoning" (1895)
 "His Last Chance" (1895)
 "Making the Most of It" (1895)
 "Might Be" (1895)
 "Military or Millinery?" (1895)
 "No Chestnuts Were Served" (1895)
 "No Earlier" (1895)
 "Not Hers" (1895)
 "Not Official Statistics, However" (1895)
 "Palmistry" (1895)
 "Prodigality" (1895)
 "Professional, But Doubtful" (1895)
 "Prudent Precautions" (1895)
 "Same Thing" (1895)
 "Self Conceit" (1895)
 "Silver Question Settled" (1895)
 "Sunday Journalism, Memoranda of the Sabbath Editor of the New York Daily for Next Sunday's Contents" (1895)
 "The Fate It Deserved" (1895)
 "The Man at the Window" (1895)
 "The Modern Kind" (1895)
 "The New Hero" (1895)
 "The Odor Located" (1895)
 "The Teacher Taught" (1895)
 "The White Feather" (1895)
 "Uncle Sam's Wind" (1895)
 "Whole Handfuls" (1895)
 "Will She Fight as She Jokes? of 1883 (1931)

Musical adaptations
 The Furnished Room  An opera in one long act based on the story of the same name.Music by Daniel Steven Crafts. Libretto by Richard Kuss. References

Further reading

External links

O. Henry Museum
 Biography and Works at LiteratureCollection.com
 "His Writers' Workshop? A Prison Cell", John J. Miller, The Wall Street Journal, June 8, 2010

 O. Henry item search at the Portal to Texas History (texashistory.unt.edu)

1862 births
1910 deaths
19th-century American short story writers
20th-century American short story writers
20th-century American novelists
Alcohol-related deaths in New York (state)
Deaths from cirrhosis
People convicted of embezzlement
Writers from Greensboro, North Carolina
Prison writings
Western (genre) writers
Writers from New York City
19th-century pseudonymous writers
20th-century pseudonymous

masks:
Henry
Olivier Henry
Henry
Orrin
Henry
Henry
Ossian
Henry
Henry
Oscar Levant
. Henry
Henry
. Henry
Henry
. Henry
Henry
Barack Obama
Henry
. Henry


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<mask> (June 15, 1932 – November 23, 2008) was an American pastor, seminary professor, and Bible scholar. Some of the views he is known for are these:
"Free Grace theology," a view that holds that eternal life is received as a free gift only through belief in <mask> for eternal life and it need not necessarily result in repentance or good works, therefore, one need not preach repentance when preaching the message of salvation. "Eternal rewards," a view that various passages in the New Testament are not dealing with eternal salvation but addressing Christians and the opportunity to earn eternal rewards or to caution against their loss. His position in support of the Majority Text. Life
<mask> was reared in Chambersburg, Pennsylvania, and came to Dallas, Texas in 1954 after receiving a bachelor's degree from Wheaton College. He received a master of theology degree from Dallas Theological Seminary in 1958. He then taught New Testament Greek and Exegesis (1959–1986) at Dallas Seminary and was chairman of the New Testament Department for some time.<mask> also served as pastor at Victor Street Bible Chapel, formerly The Old Mission in Dallas, for almost 50 years. Recently he was active in the Oak Cliff Bible Fellowship and the Grace Evangelical Society. He was the founder and president of Kerugma Ministries. Theology

Free Grace and the Lordship Salvation Controversy
In the late 1980s, <mask> and John F. MacArthur presented differing views over the gospel through various books, generally known as the "Lordship salvation controversy". <mask> propagated the Free Grace position, which teaches that the free gift of eternal life is without cost to the believer, that it comes through simply believing in <mask> and there is no need of any repentance or obedience to be followed. A distinction is recognized between believing (which results in receiving eternal life) and submission to the Lordship of <mask> (which is part of the sanctification process). Free Grace Theology also teaches that once a person believes in Jesus Christ, they cannot lose their salvation.MacArthur argued instead for Lordship Salvation, claiming that salvation is by faith alone, and it would lead to repentance and results in good works, and that a true Christian would not continue sinning without remorse but would instead obey God's commands to do good works. MacArthur viewed biblical faith as always including the notion of surrender and obedience, while <mask> taught that biblical faith was the conviction that something is true. Repentance
<mask> rejected the view of repentance as a "change of mind", holding instead the view that it is a God-fearing decision to turn from sin: "Repentance is the decision to turn from sin to avoid, or bring to an end, God's temporal judgment" (Harmony with God, p. 57). <mask> stresses that repentance facilitates faith in <mask>, but is not a condition for eternal salvation, nor is it part of faith itself. "It is one thing to say that repentance facilitates faith in <mask>—the Bible teaches that. It is quite another thing to say that repentance is a requirement for eternal life. That the Bible does not teach" (Harmony with God, p. 93).Initially in his book Absolutely Free! and later in more detail in his book Harmony with God <mask> took the position that the process of repentance may be a preparatory step in coming to salvation and should be evident in the life of a believer, but eternal life is received by believing in Jesus, not by turning from sin. <mask> points out that the gospel of John, which he claims is the only book of the Bible written to lead the unsaved to <mask>, never uses the term "repentance." In Harmony with God <mask> says there is only one answer to the question, "What must I do to be saved?" <mask> emphatically states, "[Pauls and Silas'] answer said absolutely nothing about repentance. Instead they gave the famous and simple reply 'Believe on the Lord Jesus Christ, and you will be saved' (Acts 16:31)." <mask> leaps over the next chapter in Acts where Paul does demand repentance: 'God is now declaring that all people everywhere should repent, because He has fixed a day in which He will judge the world in righteousness through a Man whom He has appointed, having furnished proof to all men by raising Him from the dead' (Acts 17:32-34.)"Majority Text
In 1982, <mask> published with Arthur L. Farstad an edition of The Greek New Testament According to the Majority Text with Apparatus. The Byzantine text-type, or Majority Text, is considered by its advocates to be a more accurate rendering of the Greek New Testament, though the more commonly accepted New Testament text, called the Alexandrian text-type, which is used in the Nestle-Aland (N/A) text and the United Bible Societies Greek Testament (UBS), is based on more ancient New Testament fragments. <mask> argues:

Works

Thesis

Books

 - 2nd edition of the 1981 title. 213f. Eunaka Kirby: "<mask><mask>: New Testament scholar, speaker, author", The Dallas Morning News, November 29, 2008. "<mask>", Wheaton History A to Z, Alumni. Audio messages by <mask>

American biblical scholars
Dallas Theological Seminary alumni
Wheaton College (Illinois) alumni
Dallas Theological Seminary faculty
New Testament scholars
People from Chambersburg, Pennsylvania
1932 births
2008 deaths

masks:
Zane Clark Hodges
Jesus Christ
Hodges
Hodges
Hodges
Hodges
Jesus Christ
Christ
Hodges
Hodges
Hodges
Christ
Christ
Hodges
Hodges
Christ
Hodges
Hodges
Hodges
Hodges
Hodges
Zane C
. Hodges
Zane Hodges
Zane Hodges


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<mask> ( – 28 March 2012) was a dual British and Canadian national who was arrested in Saudi Arabia on 17 December 2000 on a variety of charges including terrorism, espionage and murder. He was imprisoned and tortured for two years and seven months, and finally released and permitted to leave Saudi Arabia, along with several of his co-accused, on 8 August 2003. In 2005 <mask> published a book about his experience entitled Confessions of an Innocent Man: Torture and Survival in a Saudi Prison. Early life

<mask> was born at Soldiers Memorial Hospital in Middleton, Nova Scotia, Canada. The son of a British father and a Canadian mother, <mask> spent periods in Canada, the United Kingdom and Singapore. At age 16 he joined the Seaforth Highlanders militia in Vancouver. He stayed on for 18 months.He held an MBA from the University of Edinburgh and a PhD in biochemistry. He worked in biochemical research and pharmaceutical marketing prior to moving to Riyadh in 1998 to work as a marketing consultant with the Saudi Industrial Development Fund, a government development bank. Arrest

On the morning of 17 December 2000, <mask> was taken at gunpoint by police as he left his home in Riyadh on his way to work. He was taken to al-Ha'ir Prison where regular sessions of physical and psychological torture immediately began. Among other things, <mask> says he was raped by two men and repeatedly beaten, foot whipped, and deprived of sleep. After six initial days of torture largely conducted by three men, Ibrahim al-Dali (officer of the Mabaheth, the Saudi Arabian internal intelligence service), Khaled al-Saleh (officer of the Mabaheth) and a third unnamed man <mask> nicknamed "the Spiv," <mask> confessed and subsequently provided both written and videotaped confessions; he was sentenced to death by al-haad, a form of execution in which the victim is restrained and decapitated. The torture continued in various forms until his release.A Saudi official has denied that <mask> was tortured. Alleged crimes

<mask> was one of nine foreign nationals arrested on allegations of involvement in a series of car bombings targeting Western expatriates in Riyadh. British engineer Christopher Rodway was killed and his wife injured in one explosion, and a second bomb injured Britons Mark Paine and Steve Coughlan. The Saudi authorities claimed that the bombings were part of a turf war within a Western liquor trafficking ring, though the men claimed they were further forced to confess. The widow of Christopher Rodway, Jane Rodway, denied that her husband was involved in liquor trafficking. In his videotaped confession, broadcast internationally on 5 February 2001, <mask> said:

Release

In August 2003, after 31 months' incarceration in solitary confinement, <mask> and the others were suddenly released, and immediately deported to the UK. Charles, Prince of Wales, Rubin Carter, Christopher Rodway's son Justin Rodway, and Canadian members of parliament, Stéphane Dion and Dan McTeague were part of the diplomatic effort to obtain the release.In July 2004, it was revealed that the final release was part of a prisoner exchange for the release of five Saudis from the US prison camp in Guantanamo Bay, Cuba. Officials of both the Foreign and Commonwealth Office (UK) and the State Department (USA) have anonymously confirmed this information. A memorandum between officials of the Belgian Ministry of Foreign Affairs referring to the prisoner exchange adds further evidence of its occurrence. The Belgian government has confirmed both the authenticity of the memo and its knowledge of the exchange, but has denied any direct involvement in the negotiations. The Canadian government refuses to comment on the matter. Legal case

On 28 October 2004, <mask>, along with Britons Sandy Mitchell and Les Walker, won a legal battle in London, UK that allows them to sue the men in Saudi Arabia they say tortured them into making the false confessions. In February 2005, a coroner's inquest into the death of Christopher Rodway, held in Trowbridge, concluded that there was no evidence to indicate that <mask> and Mitchell had any involvement in the death, and thus were not involved in the incident for which the Saudi Arabian government had arrested them.In June 2006, a decision handed down at the Law Lords overturned the earlier ruling of the Court of Appeal. <mask>, along with Mitchell and Walker appealed to the European Court of Human Rights claiming that the law in Britain, as interpreted in the Lords' decision, is a violation of their rights under Article 6 (right to a fair trial) of the European Convention on Human Rights. In June 2006 the group's appeal was overturned by the Law Lords on the grounds that Saudi officials are protected in Britain by the State Immunity Act 1978. In 2007, <mask> was the subject of a National Film Board of Canada-co-produced documentary. Criticism of the Canadian government

<mask> repeatedly criticised the Canadian government for its actions during his incarceration. <mask> stated that his torturers were present at every meeting he had with Canadian diplomats and government representatives, who never insisted they leave and indeed accepted the Saudis' claims of <mask>'s guilt, despite the lack of evidence, inconsistencies, and the statements to the contrary by <mask> and his supporters. He also alleged that he repeatedly informed embassy officials and Canadian medical professionals that he was being tortured, but to no avail.Death
<mask> died of a heart attack at his home in northern England on 28 March 2012. According to Marni Soupcof, writing in the National Post, at the time of his death Canada was still failing <mask>. She criticized Canadian diplomatic officials for asking <mask> about torture when his torturers were present, and failing to realise he couldn't answer candidly. She rejected claims Canada had learned a lesson in being pro-active in protecting its citizens in custody overseas. See also
Mohamed Kohail
Sandy Mitchell

References

External links
 Torture and Survival in a Saudi Prison: <mask> Recounts his 2½ Year Ordeal, A 2005 interview by Democracy Now radio in New York
 Death Sentence: The <mask> Story, An interview with Peter Mansbridge (CBC)
 Statement on case of Canadian citizen <mask> at   Royal Saudi Embassy, Washington D.C.

 Confessions of an Innocent Man: Exposé of <mask>’s time in a Saudi Arabia prison

1959 births
2012 deaths
Alumni of the University of Edinburgh
British expatriates in Saudi Arabia
British expatriates in Singapore
British non-fiction writers
British people of Canadian descent
British people imprisoned abroad
British torture victims
Canadian expatriates in Saudi Arabia
Canadian expatriates in Singapore
Canadian non-fiction writers
Canadian torture victims
Canadian people imprisoned abroad
Canadian people of British descent
Prisoners and detainees of Saudi Arabia
People from Middleton, Nova Scotia
Writers from Nova Scotia
Torture in Saudi Arabia
People imprisoned on charges of terrorism
British male writers
Violence against men in Asia
Male non-fiction writers
The Seaforth Highlanders of Canada soldiers

masks:
William Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
Sampson
William Sampson
William Sampson
William Sampson
William Sampson


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<mask> (24 July 1869 – 5 July 1945) was general manager of Deutsche Reichsbahn-Gesellschaft from 1926 to 1945, a Nazi politician and the Reich Minister for Transport from 1937 to 1945. Life
Dorpmueller was the son of a railway engineer, and studied railway and road construction from 1889 to 1893. After graduating in 1898, Dorpmueller was active in the Prussian state railway administration. In 1907, he stepped down as an executive of the technical office and went into the service of the Schantung railway in Tsingtao. In 1908, he was appointed chief engineer for the German section of the new Chinese Imperial state Tianjin-Pukou railway. Due to the declaration of war by China against the German Reich, he returned as a refugee in 1918, passing through Manchuria, Siberia and Russia to Germany. In the light railway service, he was active in the management of the Transcaucasian SFSR railways.In 1919, he became departmental head with German Reich Railways (Deutsche Reichseisenbahnen) in the Stettin district. From 1922 to 30 September 1924, he was a president in the Deutsche Reichseisenbahnen in the Oppeln district, and from 1 October 1924 to 1925, he was president in the Ruhr district; due to his comprehensive experience in light railways, Dorpmueller was consulted as part of the Dawes plan. After 1925 the board of directors of the German Reich Railway (Deutsche Reichsbahn Gesellschaft) created a position entitled Permanent Representative of the general manager (Head of the Railway), as general manager Rudolf Oeser was seriously ill; Dorpmueller was appointed to this post on 3 July 1925. In December 1925 RWTH Aachen, in acknowledgment of his services to railways awarded him a doctorate in engineering. On 3 June 1926, the day of Rudolf Oeser's death he was selected by the board of directors to become the German railway's general manager. Due to political considerations it was only confirmed on 18 October 1926 by the President of Germany. Nazi career
After the Nazi seizure of power Dorpmüller replaced nearly all "non-Aryan" workers with National Socialists.<mask> became Reich Transport Minister on 2 February 1937 after the resignation of his predecessor Paul Freiherr von Eltz-Rübenach. In April 1938, when a Berlin train stopped in Passau, <mask> was ceremonially welcomed and escorted to the Danube, where he continued his trip to Linz and Vienna on board the Austrian Wotan. On 11 July 1939 the "law concerning the Deutsche Reichsbahn" (German Reich Railway) was issued and <mask> was confirmed as transport minister and also General Manager of the Deutsche Reichsbahn. According to Albert Speer, <mask> confessed that "The Reichsbahn has so few cars and locomotives available for the German area that it can no longer assume responsibility for meeting the most urgent transportation needs." Speer then convinced Hitler to name Albert Ganzenmüller state secretary under Dorpmüller. Though he had entered the cabinet with no party affiliation, <mask> was awarded the Golden Party Badge on 7 December 1940 and joined the Nazi Party on 1 February 1941 (membership number 7,883,826). <mask> stayed in office under the brief Goebbels cabinet and on the formation of the Flensburg government on 5 May 1945, he was named Minister for Transport, Communications and Posts.Post war career
After the end of the war, the British then asked Dorpmueller to take over reconstruction of the German railways: Dorpmueller and his representative Albert Ganzenmüller were brought by air, by the United States, to Chesnay in Paris, in order to meet for negotiations over the reorganization of German transport. American general Carl R. Gray Jr. had expressly recommended Dorpmueller to General Dwight D Eisenhower for "re-instatement to his old office", because he—as also "our secret service confirms"—had been neither a "Nazi sympathizer nor activist". With difficulty, as he was suffering from cancer, Dorpmueller returned on 13 June 1945 to Malente and from there, gave advice on reconstruction. On 23 June 1945 he was operated on—again—but his digestive system no longer functioned, so his health deteriorated rapidly. Despite this, he led official discussions, in full coherence, until two days before his death. Dorpmueller died on 5 July 1945 and was buried in Malente. After his death
In accordance with an October 1949 letter from Lübeck's denazification main committee to Maria Dorpmueller, <mask>'s sister, he was said to have obtained "relief" under category V classification.In the honours lists of the Aachen university 1995 anniversary publication, he was listed as an honorary doctor (1925) and an honorary senator (1939), with no further details. In the Nuremberg transport museum and in the "Dorpmueller Hall" of the main station of Hanover there were busts of Dorpmueller, until 1985, when they were removed during preparations for celebration of the sesquicentenary of the introduction of railways to Germany. In the Essen railway's head office there was once a "Dorpmueller room", which was renamed in 1985 to "Small meeting room"; the bust there also disappeared. Roads in the cities Wuppertal, Minden and Hameln, were originally named after Dorpmuller and have also been renamed. In September 1994, someone from Ratingen complained to German railways about Dorpmüller's "badly maintained" grave. In a letter from them in response in January 1995, they said that the former BD Hamburg had maintained the grave until the end of 1991, a decision by the former executive committee of the German Federal Railroads meant there was no more provision for maintenance thereafter. In the middle of 1995, someone from Hamburg tidied up the grave and took over care at their own expense.Honors and medals
 1913 Order of the Red Eagle, 4th class
 1925 Honorary Doctorate of Engineering, University of Aachen
 1934 Gold Medal of the Prussian Academy for Construction
 1936 Grashof Commemorative Medal of the Association of German Engineers
 1936 Member of the Reich Chamber of Labour
 1936 Member of the Academy for German Law
 1937 Member of the Prussian State Council
 12 November 1938 Karmarsch Medal (community of the Leibniz University Hannover)
 24 July 1939 Eagle Shield of the German Reich
 1939 Honorary Senator of the Technical University of Aachen
 7 December 1940 Golden Party Badge of the NSDAP
 Knights Cross of the War Merit Cross (twice: one with Swords – 24 July 1944;  and one without Swords – 18 September 1943)

Notes

References
Abstract of the National Railroad until 1945 from the federal archives – in German

External links

1869 births
1945 deaths
Businesspeople from North Rhine-Westphalia
Deaths from cancer in Germany
German businesspeople in transport
German people in rail transport
German refugees
Holocaust perpetrators in Germany
Members of the Academy for German Law
Nazi Germany ministers
Nazi Party politicians
People from the Rhine Province
Recipients of the Knights Cross of the War Merit Cross

masks:
Julius Heinrich Dorpmueller
Dorpmüller
Dorpmüller
Dorpmüller
Dorpmüller
Dorpmüller
Dorpmüller
Julius


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<mask> (born July 18, 1948 in Guaynabo, Puerto Rico) is a Puerto Rican musician, writer, comedian, entrepreneur and broadcasting media host. Early life
<mask> is the oldest of eleven brothers and sisters. The <mask>es are of Sephardi Jewish Anusim origin. While <mask> was a teenager he became involved in various church singing groups and in the Puerto Rican production of Up with People. He later formed a duo, Silverio y Roxana, that specialized in Puerto Rican music, and as a result, was a guest -and later hosted- a typical Puerto Rican music television program, "Borinquen Canta", along with news broadcaster Guillermo José Torres. He later studied Chemical Engineering at the University of Puerto Rico at Mayagüez, but remained active as a part-time singer while completing his studies. He then realized that Engineering, while a lucrative career, did not fulfill his vocation as a singer.During his period as a student of the University of Puerto Rico at Mayaguez, Perez met and befriended such legendary figures as politician Jose Enrique Arraras, basketball star Fufi Santori and sportscaster Elliott Castro. (in Spanish)

Career
<mask> formally started his career with the singing group Haciendo Punto en Otro Son with four debut concerts at a night club called "La Tea" in San Juan (October 30 – November 2, 1975). This band, whose original members included Irvin García, Jossy Latorre, Nano Cabrera and Tony Croatto, toured all of Puerto Rico and some other countries, recording various albums and 8-tracks. The group faced blacklisting in some Puerto Rican towns due to the political nature of some of its songs, and experienced numerous personnel changes over time (most notably Croatto's, who as a non-native Puerto Rican felt uncomfortable by the situation). Haciendo Punto would "break up" twice during the 1980s, to be reformed in the late 1990s. After the group went into a hiatus, <mask> went into Puerto Rican television with the Los Rayos Gamma show. In Los Rayos Gamma, he teamed up with Sunshine Logroño, Jacobo Morales and Horacio Olivo to satirize Puerto Rican politics.Later on, he became the show host of the successful program, En Serio Con Silverio. In 1995, he was credited with coining the term chupacabra, referring to creatures around Puerto Rico with a habit of attacking and drinking the blood of livestock, especially goats. In 2000, he debuted in the show Anda Pa'l Cará on Tele Once (now Univision Puerto Rico); it aired until 2009.

 hosting several successful Puerto Rican television shows during his career including the most recent Anda Pa'l Cará. performing with the known group of political satire called Los Rayos Gamma (The Gamma Rays)
 performing with the nueva trova group called Haciendo Punto en Otro Son. his motivational lectures which are usually called "Humortivación" (Humortivation). allegedly coining the term chupacabra to name the mythical creature responsible for various attacks on animals in Puerto Rico, Mexico and the United States

Accident and illness
In 1989, an electric gate caught <mask>'s right arm and fractured various arm and hand bones, for which he underwent surgery on at least four occasions. On October 31, 2005, <mask> had a cancerous tumor removed from his prostate.Until then, <mask> had been fairly successful in hiding his illness from the Puerto Rican public. Works
He wrote, in 1996, a book named Humortivación ("Humortivation", a portmanteau of "Humor" & "motivación"/"motivation"; published in 1998, ), which promotes motivation through humor. It had two sequels, Más Humortivación: el camino del éxito ("More Humortivation: the Path for Success", 2000, ) and Humortivación… otra vez ("Humortivation… Again", 2007, ), plus a follow-up, Domesticando tu dinosario ("Domesticating Your Dinosaur", 2005, ). In 2004, he wrote El humor nuestro de cada día: las tres tristes tribus ("Our Humor of Every Day: the Three Sad Tribes", ), a critique about Puerto Rican politics. The "three sad tribes" in the title refer to the three local political parties (PPD, PNP, & PIP) that have dominated politics in the island since 1968. It was followed up in 2008 by another political critique, Desde mi grúa: manual del elector aguzao ("From My Crane: Manual of the Intelligent Voter", ). In 2009 he released Prefiero ser trovador: décimas con amor y humor () as a book + CD bundle, which was later followed in 2011 by Punto decimal: décimas para decir más, also a book + CD bundle.In 2010 he wrote a motivational book, Abracadabra: buenas palabras ("Abracadabra: Good Words", ). He also wrote Paso a paso… por el Camino de Santiago: Crónica de un peregrino ("Step by Step… Through the Road to Santiago: Chronicle of a Peregrine", 2014, ), a memoir chronicling his experience during his peregrination to the Santiago de Compostela Cathedral in Galicia, Spain. In 2016 he wrote La vitrina rota o ¿qué carajo pasó aquí? ("The Broken Vitrine, or What the Fuck Happened Here? ", ), in which he offered his "introspective view into Puerto Rican history from 1898 to the present", with emphasis on why Puerto Rico filed for bankruptcy. During 2017, he also offered conferences in Puerto Rico and in United States about the island's current situation, based on the contents of this book. In 2017 he wrote a novel, Un espejo en la selva ("A Mirror in the Jungle", ), about a Puerto Rican psychologist kidnapped by FARC militants in Colombia.He has written several books. Two of the most recent ones, Un Espejo en la Selva (2017, a novel) and La vitrina rota o ¿qué carajo pasó aquí? (2016), were awarded by International Latino Book Awards as Best Drama and Historical Book, respectively. He is the composer of songs, among them, the danza dedicated to the island of Vieques ("Isla Nena"). In 2018 he wrote his memoir book Sólo CUENTO con el CUENTO que te CUENTO ("I Only COUNT with the TALE I TELL You", ), where he told his memories as "parent, professional, artist, and Puerto Rican". <mask> writes a column for El Nuevo Día called  (Point of View). He gives "Humortivacion" talks in Puerto Rico and the US,  promoting his most recent novel by the same name.In 2020, <mask> recorded  with his spouse and 8 other musicians. See also

List of Puerto Ricans
List of Puerto Rican songwriters
List of University of Puerto Rico at Mayagüez people

References

External links
Haciendo Punto en Otro Son

1948 births
American columnists
American commentators
Living people
Political commentators
20th-century Puerto Rican male singers
21st-century Puerto Rican male singers
Puerto Rican comedians
People from Guaynabo, Puerto Rico

masks:
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<mask> ( – 8 September 1613) was Prince of Venosa and Count of Conza. As a composer he is known for writing madrigals and pieces of sacred music that use a chromatic language not heard again until the late 19th century. He is also known for killing his first wife and her aristocratic lover upon finding them in flagrante delicto. The responses to this and to his music have often gone hand in hand. Biography

Early life
<mask>'s family had acquired the principality of Venosa in what is now the Province of Potenza, Southern Italy, in 1560. He was probably born on March 30, 1566, three years after his older brother Luigi, though some sources have stated that he was born on March 8. Older ones give the year of birth as  1560 or 1561, but this is no longer accepted.A letter from <mask>'s mother, Geronima Borromeo, indicates that the year is most likely 1566. <mask>'s uncle was <mask>, later Saint Charles Borromeo. His mother was the niece of Pope Pius IV. Most likely <mask> was born at Venosa, then part of the Kingdom of Naples, but little else is known about his early life. "His mother died when he was only seven, and at the request of his uncle, <mask> for whom he was named, he was sent to Rome to be set on the path of an ecclesiastical career. There he was placed under the protection of his uncle, Alfonso (d. 1603), then dean of the College of Cardinals, later unsuccessful pretender to the papacy, and ultimately Archbishop of Naples." His brother Luigi was to become the next Prince of Venosa, but after his untimely death in 1584, <mask> became the designated successor.Abandoning the prospect of an ecclesiastical career, he married in 1586 his first cousin, Donna Maria d'Avalos, the daughter of <mask>'Avalos, prince of Montesarchio and Sveva <mask>. They had a son, Don Emmanuele. <mask> had a musical relationship with Pomponio Nenna, though whether it was student to teacher, or colleague to colleague, is uncertain. Regardless of this, however, he had a single-minded devotion to music from an early age, and showed little interest in anything else. In addition to the lute, he also played the harpsichord and guitar. In addition to Nenna, <mask>'s accademia included the composers Giovanni de Macque, Scipione Dentice, Scipione Stella, Scipione Lacorcia, Ascanio Mayone, and the nobleman lutenist Ettorre de la Marra. Homicide

Some years into her marriage with <mask>, Donna Maria began an affair with Fabrizio Carafa, third Duke of Andria and seventh Count of Ruovo.On the night of October 16, 1590, at the Palazzo San Severo in Naples, the two lovers were caught in flagrante by <mask>, who killed them both on the spot. The day after the killing, a delegation of Neapolitan officials inspected the room in <mask>'s apartment where the killings had taken place, and interrogated witnesses. The delegation's report did not lack in gruesome details, including the mutilation of the corpses and, according to the witnesses, <mask> going into the bedroom a second time "because he wasn't certain yet they were dead". The Gran Corte della Vicaria found <mask> had not committed a crime. Successor
About a year after the gruesome end of his first marriage, <mask>'s father died and he thus became the third Prince of Venosa and eighth Count of Conza. Ferrara years
By 1594, <mask> had arranged for another marriage, this time to Leonora d'Este, the niece of Duke Alfonso II. That year, Gesualdo ventured to Ferrara, the home of the d'Este court and also one of the centers of progressive musical activity in Italy, especially the madrigal; <mask> was especially interested in meeting Luzzasco Luzzaschi, one of the most forward-looking composers in the genre.Leonora was married to <mask> and moved with him back to his estate in 1597. In the meantime, he engaged in more than two years of creative activity in the innovative environment of Ferrara, surrounded by some of the finest musicians in Italy. While in Ferrara, he published his first book of madrigals. He also worked with the concerto delle donne, the three virtuoso female singers who were among the most renowned performers in the country, and for whom many other composers wrote music. In a letter of June 25, 1594, <mask> indicated he was writing music for the three women in the concerto delle donne; however, it is probable that some of the music he wrote, for example that in the newly developing monodic and/or concertato styles, has not survived. Return to Gesualdo and final years
After returning to his castle at Gesualdo from Ferrara in 1595, he set up a situation similar to the one that existed in Ferrara, with a group of resident virtuoso musicians who would sing his own music. While his estate became a center of music-making, it was for <mask> alone.With his considerable financial resources, he was able to hire singers and instrumentalists for his own pleasure. He rarely left his castle, taking delight in nothing but music. His most well-known music was published in Naples in 1603 and from the castle of Gesualdo (with printer ) in 1611. The most notoriously chromatic and difficult portions of it were all written during his period of self-isolation. The relationship between <mask> and his new wife was not good; she accused him of abuse, and the Este family attempted to obtain a divorce. She spent more and more time away from the isolated estate. <mask> wrote many angry letters to Modena where she often went to stay with her brother.According to Cecil Gray and Peter Warlock, "She seems to have been a very virtuous lady ... for there is no record of his having killed her." In 1600, <mask>'s son by his second marriage died. It has been postulated that after this <mask> had a large painting commissioned for the church of the Capuchins at Gesualdo, showing <mask>, his uncle <mask>, his second wife Leonora, and his son, underneath a group of angelic figures; however, some sources suspect the painting was commissioned earlier, as the identity of the child is unclear. Late in life he suffered from depression. According to Campanella, writing in Lyon in 1635, <mask> had himself beaten daily by his servants, keeping a special servant whose duty it was to beat him "at stool", and he engaged in a relentless, and fruitless, correspondence with Cardinal Federico Borromeo to obtain relics, i.e., skeletal remains, of recently canonized uncle <mask>o, with which he hoped to obtain healing for his mental disorder and possibly absolution for his crimes. Gesualdo's late setting of Psalm 51, the Miserere, is distinguished by its insistent and imploring musical repetitions, alternating lines of monophonic chant with pungently chromatic polyphony in a low vocal tessitura. <mask> died in isolation, at his castle Gesualdo in Avellino, three weeks after the death of his son Emanuele, his first son by his marriage to Maria.One 20th-century biographer has raised the possibility that he was murdered by his wife. He was buried in the chapel , in the Church of the Gesù Nuovo, in Naples. The sepulchre was destroyed in the earthquake of 1688. When the church was rebuilt, the tomb was covered over, and now lies beneath it. The burial plaque, however, remains visible. Compositions and style

The evidence that <mask> was tortured by guilt for the remainder of his life is considerable, and he may have given expression to it in his music. One of the most obvious characteristics of his music is the extravagant text setting of words representing extremes of emotion: "love", "pain", "death", "ecstasy", "agony" and other similar words occur frequently in his madrigal texts, most of which he probably wrote himself.While this type of word-painting is common among madrigalists of the late 16th century, it reached an extreme development in <mask>'s music. His music is among the most experimental and expressive of the Renaissance, and without question is the most wildly chromatic. Progressions such as those written by <mask> did not appear again in music until the 19th century, and then in a context of tonality. <mask>'s published music falls into three categories: sacred vocal music, secular vocal music, and instrumental music. His most famous compositions are his six books of madrigals, published between 1594 and 1611, as well as his Tenebrae Responsoria, which are very much like madrigals, except that they use texts from the Passion, a form (Tenebrae) used by many other composers. As in the later books of secular madrigals, he uses particularly sharp dissonance and shocking chromatic juxtapositions, especially in the parts highlighting text passages having to do with Christ's suffering, or the guilt of St. Peter in having betrayed him. The first books of madrigals that <mask> published are close in style to the work of other contemporary madrigalists.Experiments with harmonic progression, cross-relation and violent rhythmic contrast increase in the later books, with Books Five and Six containing the most famous and extreme examples (for instance, the madrigals "Moro, lasso, al mio duolo" and "Beltà, poi che t'assenti", both of which are in Book Six, published in 1611). There is evidence that <mask> had these works in score form, in order to better display his contrapuntal inventions to other musicians, and also that <mask> intended his works to be sung by equal voices, as opposed to the concerted madrigal style popular in the period, which involved doubling and replacing voices with instruments. In addition to the works which he published, he left a large quantity of music in manuscript. This contains some of his richest experiments in chromaticism, as well as compositions in such contemporary avant-garde forms as monody. Some of these were products of the years he spent in Ferrara, and some were specifically written for the virtuoso singers there, the three women of the concerto di donne. Characteristic of the Gesualdo style is a sectional format in which relatively slow-tempo passages of wild, occasionally shocking chromaticism alternate with quick-tempo diatonic passages. The text is closely wedded to the music, with individual words being given maximum

masks:
Carlo Gesualdo da Vsa
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 attention.Some of the chromatic passages include all twelve notes of the chromatic scale within a single phrase, although scattered throughout different voices. <mask> was particularly fond of chromatic third relations, for instance juxtaposing the chords of A major and F major, or even C-sharp major and A minor, as he does at the beginning of "Moro, lasso, al mio duolo". Reception

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

In his own lifetime, the salacious details of <mask>'s killing of his first wife and her lover were widely publicized, including in verse by poets such as Tasso and an entire flock of Neapolitan poets, eager to capitalize on the sensation. The accounts of his cruelty were expanded with apocryphal stories such as the alleged killing of an illegitimate child of Donna Maria and her lover, which according to one variant of the made-up story was "suspended in a bassinet and swung to the point of death". Until the 1620s his music was imitated by Neapolitan composers of polyphonic madrigals such as Antonio Cifra, Michelangelo Rossi, Giovanni de Macque, Scipione Dentice, Girolamo Frescobaldi and Sigismondo d'India. After the Renaissance <mask>'s life story and his music were largely forgotten until the 20th century: in 1926 Gray and Warlock published their book on <mask>.The life of <mask> provided inspiration for numerous works of fiction and musical drama, including a novel by Anatole France and a short story by Julio Cortázar. Several composers responded to <mask>'s music: In 1960 Igor Stravinsky wrote Monumentum pro Gesualdo, containing an arrangement of <mask>'s madrigal "Beltà, poi che t'assenti". In 1995 Alfred Schnittke wrote an opera based on <mask>'s life. Another Gesualdo opera was written by Franz Hummel in 1996 as a commission from the city of Kaiserslautern. Salvatore Sciarrino arranged several of <mask>'s madrigals for an instrumental ensemble. Music based on <mask>'s life and music

Operas based on <mask>'s life and music:
Maria di Venosa (1992) by Francesco d'Avalos. Gesualdo (1993) by Alfred Schnittke.Gesualdo (1998) by Franz Hummel. The Prince of Venosa (1998) by Scott Glasgow. Luci mie traditrici (1998) by Salvatore Sciarrino
Gesualdo (2003) by Bo Holten. Gesualdo (2010) by Marc-André Dalbavie, lyrics by Richard Millet. Other music inspired by <mask> and/or his music includes:
Monumentum pro Gesualdo (1960) by Igor Stravinsky
Omaggio a Gesualdo (1971) per violino e sei gruppi strumentali, by Jan van Vlijmen
Tenebrae Super Gesualdo (1972) for Alto Flute, Bass Clarinet, Cello, Glockenspiel, Guitar, Harpsichord, Marimba, Mezzo-Soprano, Viola, Violin and Celeste by Peter Maxwell Davies
Italian singer-songwriter Franco Battiato wrote and recorded a song "Gesualdo da Venosa" about him, for his 1995 album L'ombrello e la macchina da cucire. The song was remastered in 2008. In 1997, Australian composer Brett Dean paid homage to Gesualdo in Carlo, a work for string orchestra, tape and sampler.Tenebre (1997) for String Orchestra by Scott Glasgow
Le voci sottovetro: Elaborazioni da <mask>esualdo da Venosa (1998) for voice and ensemble by Salvatore Sciarrino
In 1998 Italian jazz arranger and composer Corrado Guarino, of Bergamo, in collaboration with Livorno saxophonist Tino Tracanna, released the CD Gesualdo. The work featured arrangements from books I, IV and VI of the Madrigals. La terribile e spaventosa storia del Principe di Venosa e della bella Maria (1999) music for l'Opera dei Pupi for voice and ensemble by Salvatore Sciarrino
Sulla morte e la follia (2004) for Violin, Violoncello and Piano by Sergio Blardony
Tenebrae (2008) by John Pickard
Mexican/British composer Hilda Paredes has arranged three madrigals from Book Six for countertenor and string quartet: "Belta, poi che t'assenti", "Arditta zanzaretta" and "Moro lasso", published by University of York Music Press, were premiered in Tokyo at the Ishibiashi Memorial Hall by countertenor Jake Arditti and the Arditti String Quartet in 2012. The quartet have continued to perform them since. Night of Your Ascension (2015), album by experimental music collective Wrekmeister Harmonies. The Prince of Venosa - for string quartet (2016) by Caio Facó
The Second Violinist (2017), an opera composed by Donnacha Dennehy, written and directed by Enda Walsh, in which the central character is in love with the music of <mask>, and with a plot that echoes his life. The score is influenced by part of Gesualdo’s motet Tristis anima mea.Legacy
The music State Conservatory of Potenza is named after <mask> da Venosa. In The Doors of Perception (1954), Aldous Huxley writes of <mask>'s madrigals:

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

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

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

 <mask>, Madrigaux. Les Arts Florissants: Harmonia Mundi France CD 901268 (selection from madrigal books 4–6)
 Gesualdo, Complete Sacred Music for Five Voices. Oxford Camerata, Jeremy Summerly: Naxos 8.550742
 Gesualdo, Madrigali Libri I-III. Gesualdo Consort Amsterdam: CPO 777 138–2
 <mask> de Verona, "The Complete Madrigals" [Libri I-VI]. 7 discs. Marco Longhini & Delitiæ Musicæ.Naxos 8507013. <mask>, "Madrigali a 5 voci" Books 1-6 [Complete] 6 discs. Quintetto Vocale Italiano Newton Classics 8802136
 <mask>, Madrigali, Libro I. The Kassiopeia Quintet: GLO5221 (only complete edition of <mask>'s madrigals currently available)
 <mask>, Madrigali, Libro II. The Kassiopeia Quintet: GLO5222
 <mask>, Madrigali, Libro III. The Kassiopeia Quintet: GLO5223
 <mask>, Madrigali, Libro IV. The Kassiopeia Quintet: GLO5224
 <mask>, Madrigali, Libro V. The Kassiopeia Quintet: GLO5225
 <mask>, Madrigali, Libro VI.The Kassiopeia Quintet: GLO5226
 <mask>, Quarto Libro di Madrigali. La Venexiana: Glossa GCD920934
 <mask>, Quinto Libro di Madrigali. La Venexiana: Glossa GCD920935
 <mask>, Quinto Libro di Madrigali. The Hilliard Ensemble:  ECM New Series. ECM 2175 476 4755
 <mask>, Quinto Libro di Madrigali. The Consort of Musicke, Anthony Rooley. L'Oiseau-Lyre 475 9110 DM
 Gesualdo, Sesto Libro di Madrigali.IL Complesso Barocco: Symphonia SY94133 (deleted), now Pan Classics PC10229
 <mask>, Sesto Libro di Madrigali. La Compagnia del Madrigale: Glossa GCD922801

Tenebrae

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

 References

 Sources

 Further reading
 Alfred Einstein. The Italian Madrigal. Princeton University Press, 1949. Gustave Reese. Music in the Renaissance.New York: W.W. Norton & Co., 1954. Nicolas Slonimsky. The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th ed. New York, Schirmer Books, 1993. Annibale Cogliano. <mask>: il principe, l'amante, la strega. Napoli: Edizioni Scientifiche Italiane, 2004. .
 Annibale Cogliano.Inventario – Centro Studi e Documentazione Carlo Gesualdo. Avellino: Elio Sellino Editore, 2004. Annibale Cogliano. <mask>esualdo omicida fra storia e mito. Napoli: ESI, 2006. .
 Salvatore La Vecchia, with a Preface by Ruggero Cappuccio. La Giostra del principe: Il dramma di <mask>do Atripalda (AV): Mephite Editore, 2010. Sandro Naglia.Il processo compositivo in Gesualdo da Venosa: un'interpretazione tonale. Rome, IkonaLiber, 2012. Annibale Cogliano. <mask> da Venosa: Per una biografia.'' Giuseppe Barile, 2014

External links

 La Stamperia del Principe Gesualdo (Gesualdo, Italy)

 Free scores at the Mutopia Project

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

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

<mask> himself succeeded Lonyson as Master of the Mint in 1582, serving in that capacity until his death in 1617. <mask> was an investor in Sir Francis Drake's 1577–1580 voyage of circumnavigation and also in Drake's 1585–1586 expedition to harass the Spanish ports in the New World. Making and selling silver plate
<mask> supplied silver plate to the queen's privy kitchen in 1583, including a great standing cup gilt, with a cover, the body garnished with "sundry vermin as snakes ewetes (newts) frogs and others", and laid with colours, the cover garnished with sundry men and beasts hunting with a stag at the top. This cup, probably made in Germany, was admired in the Tower of London by Lupold von Wedel in November 1584. It was a gift at the baptism of Prince Henry in August 1594.He provided silver plate for the use of Mary, Queen of Scots, including a silver gilt bowl and cover in 1585, decorated with an engraved pattern of fish. In 1589 <mask> supplied silver plate, silks, and other goods to the value of £2,000 which Elizabeth gave to James VI of Scotland for the reception of Anne of Denmark. James VI took some of this silver plate to Oslo and presented it to the Danish councillors Steen Brahe and Axel Gyldenstierne. In 1591 <mask> and Hugh Kayle supplied Queen Elizabeth with silver plate worth £2,213, some plate was for New Year's Day gifts and some for christening gifts. John Williams, a successful Welsh-born goldsmith, was his apprentice in 1584. Marriage and family
<mask> married Dorcas Ecclestone (1537-1599) sometime before 1562. <mask> had a silver medal with their portraits made to commemorate their marriage.The medal was designed by Steven Corneliszoon van Herwijck who was working in London in 1562. They had five sons and one daughter. Both Martins were active in radical religious causes including the Admonition Controversy, part of an effort to encourage the queen to further reform Protestantism in England. The country house at Highgate later known as Lauderdale House was built for him in 1582. The <mask>' son Captain <mask> commanded the Benjamin under Drake in the 1585–1586 expedition. On his return, <mask> married Mary Brandon (born 1566), daughter of Robert Brandon, Chamberlain of London, on 23 May 1586 at St Vedast, Foster Lane. <mask> became a Councilman of the Jamestown Colony of Virginia in 1607 and was the proprietor of Martin's Brandon Plantation on the south bank of the James River, apparently named after his wife's family.Another son, <mask> (died 1616), served with his father as a master-worker at the mint from 1599 to 1607. Their daughter Dorcas married Sir Julius Caesar, later Chancellor of the Exchequer and Master of the Rolls under James I. The house in Cripplegate
In March 1595 <mask> raided the house of Edmund Williamson in Philip Lane, Cripplegate, after his brother Nicholas Williamson was arrested for treason. <mask> discovered that Edmund Williamson ran a kind of pawnbroking business from his house, obtaining luxury goods from young men for small sums, less than their worth. Nicholas Skeres, an associate of Christopher Marlowe involved in the credit racket, was taken by <mask> and held for a few days. Late life
<mask> had remained both Warden and Master of the Mint for almost two decades, but following charges in 1597 that he was profiteering by delaying repayments he sold his office of Warden to Sir Thomas Knyvet. The two soon fell out, with Knyvet accusing <mask> of owing the crown substantial funds and <mask> insisting he was owed.<mask> was briefly imprisoned for debt, which led to his removal from his Aldermanry on 31 August 1602 on account of his "unfitting demeanour and carriage". Suits and countersuits continued, with the Exchequer finding against <mask> in 1607 and a further enquiry finding in his favour in 1615. In 1608 <mask> asked to be involved in the assay of silver ore sent to the Tower Mint from Hilderston in Scotland. He sent a report of the assay and chemical opinions offered by his workmen to the Earl of Salisbury in October. <mask> died in July 1617, and was buried in Tottenham Church, 30 July 1617. At his death he "was held near a hundred years old". His wife Dorcas had been buried in the same church on 2 September 1599, and his son <mask> on 28 May 1616.Notes

References

Further reading

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

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

masks:
Richard Martin
Richard Marty
Martin
Martin Calthrop
Martin
Martin
Martin
Martin
Martin
Martin
Martin
Richard Martin
Martin
Martins
John Martin
John Martin
John Martin
Richard
Martin
Martin
Martin
Martin
Martin
Martin
Martin
Martin
Martin
Richard Martin
Richard
Richard Martin


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

There, with the help of Alberico Spatola, the composer of the tango El trece and the director of the Buenos Aires police orchestra, he was able to join the band of Anselmo Aieta.In early 1924, <mask> joined an orchestra directed by the violin player Juan Pedro Castillo, and later, the trio of Alejandro Scarpino (the composer of Canaro en Paris). He accompanied the actress and singer Olinda Bozán on her recordings for the Electra label and worked as part of a sextet in the cabaret Chantecler. Thanks to a recommendation from José Pécora, a violin player, he joined Osvaldo Fresedo's orchestra in 1926 and played at the opening night of the Fénix theater in the Buenos Aires neighborhood of Flores. Fresedo became an important influence on <mask>'s music as well as a good friend. The tango Viejo milonguero, which <mask> composed around 1927-28 was dedicated to Fresedo. It was around the same time that Juan "Pacho" Maglio and José María Rizzutti recorded the tango Meditación which <mask> had composed around 1919 but never recorded himself. In late 1927 he started to set up his own sextet or orchestra tipica (José Pécora and David Abramsky on violin, César Ginzo and Tito Landó on bandoneón and Adolfo Kraus on bass), directing it from behind the piano that he himself played.With the orchestra, <mask>i played live in clubs as well as radio shows in Radio Cultura and recorded for the label RCA Victor. In addition to instrumentals, he recorded with the vocalists Santiago Devincenzi (who later changed his last name to Devin), Ernesto Famá and Fernando Díaz. These singers were hired only to sing the short verses ("estribillos") during the performances and were not constant members of his orchestra, unlike the musicians. Between November 26, 1928 and August 14, 1931, he recorded 48 tracks  including the tangos T.B.C. by Edgardo Donato, Maldita by <mask> and Celedonio Flores, and the Eduardo Arolas compositions La guitarrita and Una noche de garufa. In 1930, during a performance in the café El Germinal, <mask> had an argument with one of the café's owners who did not understand that he wore dark glasses on stage for medical reasons because of his accident at age 13. <mask> promptly moved with his orchestra to Bahía Blanca, where he performed at the La Central club.In 1932, Antonio Rodríguez Lesende joined the orchestra as a singer. In 1934, for unclear reasons, <mask> left the orchestra and moved to Rosario in Santa Fe province where he joined a small band with the bandoneón player Juan Cambareri, the violin player Alberto Saikievich and the singer Roberto Pieri. His sextet continued to play without him, later changing its name to Orquesta Novel due to their performances at the club Novelty. At the request of the orchestra's members in 1935, <mask> rejoined the band temporarily to replace the pianist Ricardo Canataro who was ill at the time. In late 1938, <mask> reorganized his orchestra and in January 1939 debuted in Radio El Mundo. His orchestra consisted of Roberto Guisado, Ángel Goicoechea and Adolfo Pérez on violin, Roberto Gianitelli, Domingo Sánchez and Roberto Mititieri on bandoneón and Domingo Capurro on bass. The singer was Ignacio Murillo, soon to be replaced by Roberto Rufino who was 16 years old at the time.On December 11, 1939, they recorded for RCA Victor the tangos Corazón (composed by <mask>i, with Hector Marco's lyrics) and Retirao by <mask>. He stayed with this recording label until 1949, when he withdrew from tango for commercial reasons. In November 1951, he returned to the label Music Hall until April 1953 recording 84 tracks with the vocals of Mario Pomar and Oscar Serpa. From June 1954 until 1958 he returned to the RCA Victor label, leaving that year for Philips to record his last 14 tracks with Horacio Casares and Jorge Durán. Last orchestra lineup

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

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

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

References

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

masks:
Carlos Di Sarli
Carlos di Sarli
Miguel Di Sarli
Cayetano di Sarli
Carlos
Carlos
Carlos
Carlos
Carlos
Carlos
Carlos
di Sarli
di Sarli
di Sarli
di Sarl
Antonio Rodio
di Sarli
Di Sarli
di Sarli
di Sarli
di Sarli
di Sarl
Carlos Posadas
Di Sarli
Carlos Arnaiz
. Verdi
Di Sarli
Carlos Acuña
Di Sarli
di Sarli
Di Sarli
Di Sarli
Carlos Di
Carlos Di


text_chunks:
<mask> (9 July 1904 – 12 November 1964) was a German SS functionary during the Nazi era. He was involved in espionage matters as the Sicherheitsdienst (Security Service) or (SD) section chief of office VI (foreign intelligence) of the Reich Security Main Office. Jost was responsible for genocide in eastern Europe as commander of Einsatzgruppe A from March–September 1942. After Germany's defeat, <mask> was tried and convicted in West Germany, and died in 1964. Early life
<mask> was born in the northern Hessian Homberg (Efze) - Ortsteil Holzhausen - in Hersfeld in 1904, to a middle-class Catholic and nationalistic family. <mask>, <mask>'s father, was a pharmacist and later became a fellow NSDAP member. Jost attended grammar school in Bensheim, graduating in 1923.As a student he became a member, and eventually a leader, of the Jungdeutsche Orden (Young German Order), a nationalistic paramilitary movement. <mask> studied law and economics at the Universities of Giessen and Munich. He completed his civil service examination in May 1927. <mask>'s legal career began as a legally trained civil servant employed in Hesse. He later worked in the district court at Darmstadt. Nazi career
<mask> joined the Nazi Party on 2 February 1928  with an NSDAP membership number of 75,946. He performed various functions for the party's operations in southern Hesse.From 1930 he settled as an independent lawyer in Lorsch, Hesse. After the Nazi seizure of power in March 1933, <mask> was appointed Director of Police in the city of Worms and then to police director of Giessen. From this period came his association with Werner Best, who brought Jost into the main Nazi intelligence and security agency, the Sicherheitsdienst (SD). On 25 July 1934, <mask> began his full-time career with the SD. His SS membership number was 36,243. In May 1936, <mask> was promoted in the SD Main Office to head Department III 2 (Foreign Intelligence Services). In 1938, <mask> was head of the Einsatzgruppe Dresden which occupied Czechoslovakia.In August 1939 <mask> was tasked by Reinhard Heydrich with obtaining the Polish uniforms needed for the false flag attack on the station in Gleiwitz. When the Reich Security Main Office (RSHA) was established in September 1939, <mask> was appointed as chief of Amt VI (Office VI) Ausland-SD (foreign intelligence). One of the chief purposes of Amt VI was to counteract foreign intelligence services that might try to operate in Germany. He also served as an SS officer in the German invasion of Poland in 1939. Einsatzgruppe command
Jost's career suffered by being linked with Werner Best, who was a rival of Reinhard Heydrich. Best lost a power struggle with Heydrich who went on to become one of the most powerful men in the Nazi state. In March 1942, <mask> was fired from his position as Chief of Ausland-SD.<mask>'s place was taken by Brigadeführer Walter Schellenberg, a deputy of Heydrich. Heydrich had given Schellenberg the task of building up a case for <mask>'s removal. According to Schellenberg, <mask> was lacking in bureaucratic skill and drive. <mask> was sent to command Einsatzgruppe A, whose previous commander Franz Walter Stahlecker, had recently been killed in a battle with partisans. Einsatzgruppe A was then operating in the Baltic States and in Belarus. <mask> became Befehlshaber der Sicherheitspolizei und des SD (Commander of the Security Police and the SD) or BdS in Reichskommissariat Ostland, with his headquarters at Riga. <mask> retained this position until September 1942.According to <mask>, this position carried substantial responsibility:

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

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

This defense was rejected by the tribunal:

<mask> also claimed, through his attorney, that whatever he had done was justified by "self-defense, necessity, and national emergency". He further claimed he had nothing to do with carrying out the Führer's order (Führerbefehl) for the extermination of entire populations. These claims were rejected by the tribunal as being inconsistent with each other: "If, as a matter of fact, the defendant committed or approved of no act which could be interpreted either as a war crime or crime against humanity, the argument of self-defense and necessity is entirely superfluous." <mask> did testify that when in May 1942 he received an order from Heydrich to surrender Jews under 16 and over 32 for liquidation, he placed the order in his safe and declined to transmit it. The tribunal found the evidence contradicted him. According to Einsatzgruppen status report number 193, dated 17 April 1942, there was an execution in Kovno [Kaunas], on 7 April 1942, of 22 persons "among them 14 Jews who had spread Communist propaganda". In addition, the tribunal found, that on 15 June 1942, one of <mask>'s subordinates wrote to the RSHA, requesting shipment of a gas van (used by the Einsatzgruppen for executions by means of carbon monoxide asphixiation) and gas hoses for three gas vans on hand.<mask> denied any knowledge of this letter but admitted that the subordinate in question had the authority to order equipment. His sentence was reviewed by the "Peck Panel". In 1951, <mask> was released from Landsberg prison. He then worked in Düsseldorf as a real estate agent. He died in 1964 at Bensheim. Notes

References
 Altenhöner, Florian, The Case of <mask> Karl Jost: Ein MI5-Vernehmungsbericht aus dem Jahr 1945, in: Journal for Intelligence, Propaganda and Security Studies 2 (2008) H. 2, S. 55–76. Diefenforf, Jeffry M., Frohn, Axel, and Rupieper, Hermann-Josef, American Policy and the Reconstruction of West Germany, 1945–1955, Cambridge University Press, 1994.Doerries, Rienhard R., Hitler's Last Chief of Foreign Intelligence: Allied Interrogations of Walter Schellenberg, Frank Cass, 2007 [2003]. Höhne, <mask>, Der Orden unter dem Totenkopf. München, Goldmann, 1967. Kahn, David, Hitler's Spies—German Military Intelligence in World War II, Da Capo Press, 2000. Krausnick, Helmut, and Wilhelm, Hans-Heinrich, Die Truppe des Weltanschauungskrieges. Stuttgart, DVA, 1981. Trials of War Criminals before the Nuernberg Military Tribunals under Control Council Law No.10, Nürnberg, October 1946 - April 1949, Volume IV, ("Green Series") (the "Einsatzgruppen case") also available at Mazel library (well indexed HTML version)
 Reitlinger, Gerald, The SS—Alibi of a Nation, Viking (Da Capo reprint), New York, 1957. Wildt, Michael, Generation der Unbedingten – Das Führungskorps des Reichssicherheitshauptamtes. Hamburg, Hamburger Edition, 2003. Further reading
 Earl, Hilary, The Nuremberg SS-Einsatzgruppen Trial, 1945–1958: Atrocity, Law, and History, Nipissing University, Ontario
 Headland, Ronald, ''Messages of Murder: A Study of the Reports of the Einsatzgruppen of the Security Police and the Security Service, 1941–1943, Rutherford 1992

External links
  Biography and photograph of Jost

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

masks:
Heinz Jost
Jost
Heinz Jost
Heinrich Jost
Heinz
Jost
Heinz
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Jost
Heinz Maria
Heinz


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

<mask>'s first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces) as a stimulus. All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.<mask> has also made a number of films and videos, including several in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what <mask> himself considers the ultimate subject matter of his films. Music style
<mask>'s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects.The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. <mask>'s work continues to influence a generation of musicians, especially younger players from a variety of musical genres. <mask>'s compositional process usually begins with recordings of single, absolute tones played by a specific musician, with the breathing and attack and decay edited out; these single tones are then layered, creating a monumental, continuous sound. Collaborations with such musicians have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s; Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; Dave Soldier and the Soldier String Quartet on Five More String Quartets, Early Winter; and many others. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch + 1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik. In performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings.Simultaneously, <mask> generally accompanies performances by presenting his films and videos (often those from The Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances <mask> generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors. Experimental Intermedia Foundation
Since 1985, <mask> has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968.<mask> received a 1994 Foundation for Contemporary Arts Grants to Artists Award and a 2014 Foundation for Contemporary Arts John Cage award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee—<mask> <mask>, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels—founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998. <mask> <mask> Gurdy and Voice, 2000. A Young Person’s Guide to Phill <mask> (or short: YPGPN), 1994.Music by <mask> <mask>, 1993
Four Full Flutes, 1990. Filmography
The Magic Sun (1966) Sun Ra
MORNING (1966-69) 17 min
DOGTRACK (1969) 8:30 min
ANNIE (1968) 8min
MAX (1966-68) 7:30 min Max Neuhaus
RAOUL (1968-69) 20 min

References

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

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

masks:
Phill Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Niblock
Phill
Niblock
Phill
Niblockrdy
Niblock
Phill
Niblock
Niblock
Phil Niblock
Niblock
Niblock
Niblock