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<mask>  <mask> (19 February 1878 – 2 November 1961) was a Swedish–Norwegian actress. A celebrity in her day, Bosse is now most commonly remembered as the third wife of the playwright August Strindberg. Bosse began her career in a minor company run by her forceful older sister Alma Fahlstrøm in Kristiania (now Oslo, the capital of Norway). Having secured an engagement at the Royal Dramatic Theatre ("Dramaten"), the main drama venue of Sweden's capital Stockholm, Bosse caught the attention of Strindberg with her intelligent acting and exotic "oriental" appearance. After a whirlwind courtship, which unfolds in detail in Strindberg's letters and diary, Strindberg and <mask> were married in 1901, when he was 52 and she 23. Strindberg wrote a number of major roles for <mask> during their short and stormy relationship, especially in 1900–01, a period of great creativity and productivity for him. Like his previous two marriages, the relationship failed as a result of Strindberg's jealousy, which some biographers have characterized as paranoid.The spectrum of Strindberg's feelings about Bosse, ranging from worship to rage, is reflected in the roles he wrote for her to play, or as portraits of her. Despite her real-life role as muse to Strindberg, she remained an independent artist. Bosse married Swedish actor Anders Gunnar Wingård in 1908, and Swedish screen actor, director, and matinee idol Edvin Adolphson in 1927. All three of her marriages ended in divorce after a few years, leaving her with a daughter by Strindberg and a son by Wingård. On retiring after a high-profile acting career based in Stockholm, she returned to her roots in Oslo. Early career
<mask> was born in Norway's capital Kristiania, today called Oslo, as the thirteenth of fourteen children of Anne-Marie and Johann Heinrich <mask>. Her German father was a publisher and bookseller, and his business led to the family's alternating residence in Kristiania and Stockholm, the capital of Sweden.Bosse was to experience some confusion of national identity throughout her life, and to take the  rail trip between the cities many times. A bold, independent child, she first made the journey alone when she was only six years old. Two of <mask>'s older sisters, Alma (1863–1947) and Dagmar (1866–1954), were already successful performers when <mask> was a small child. Inspired by these role models, <mask> began her acting career in a Norwegian touring company run by her sister Alma and Alma's husband Johan Fahlstrøm (1867–1938). Invited to play Juliet in Romeo and Juliet, the eighteen-year-old <mask> reported in a letter to her sister Inez that she had been paralysed by stage-fright before the premiere, but had then taken delight in the performance, the curtain-calls, and the way people stared at her in the street the next day. Alma was <mask>'s first and only—rather authoritarian—acting teacher. Their harmonious and sisterly teacher–pupil relationship became strained when Alma discovered that her husband Johan and <mask> were having an affair.Both Bosse parents were now dead, and <mask>, ordered by Alma to leave, used a modest legacy from her father to finance studies in Stockholm, Copenhagen, and Paris. The Paris stage—at that time in dynamic conflict between traditional and experimental production styles—was inspirational for Bosse and convinced her that the low-key realistic acting style in which she was training herself was the right choice. Returning to Scandinavia, she was hesitant as to whether she should carve out a career in Stockholm, with its greater opportunities, or in Kristiania, to which she had closer emotional ties. In spite of the disadvantage of speaking Swedish with a Norwegian accent, Bosse let herself be persuaded by her opera-singer sister Dagmar to try her luck in Stockholm. She applied for a place at the Royal Dramatic Theatre ("Dramaten"), the main drama venue of Stockholm, governed by the conservative tastes of King Oscar II and his personal advisors. After working hard at elocution lessons to improve her Swedish, which was Dramaten's condition for employing her, Bosse was eventually to become famous on the Swedish stage for her beautiful speaking voice and precise articulation. Having trained her Swedish to a high level, she was engaged by Dramaten in 1899, where the sensation of the day was the innovative play Gustaf Vasa by August Strindberg.Marriage to August Strindberg

August Strindberg

Although <mask> was a successful professional, she is chiefly remembered as the third wife of Swedish dramatist August Strindberg (1849–1912). Strindberg, an important influence on the development of modern drama, had become nationally known in the 1870s as an angry young socialist muckraker and had risen to fame with his satire on the Swedish establishment, The Red Room (1879). In the 1890s,  he had suffered a long and miserable psychotic interlude, known as the "Inferno Crisis", and, emerging from this ordeal, he remained marked by it. He turned from naturalism to symbolism in his prolific literary output, and his convictions and interests at the turn of the twentieth century focused less on politics and more on theosophy, mysticism, and the occult. When Bosse met him in 1899–1900, he was, at age 51, at the height of his creative powers, his name "red-hot" on the stage. Strindberg had the reputation of a misogynist, something which all of his wives stoutly denied. Bosse wrote in an unpublished statement which she left to her daughter with Strindberg, Anne-Marie: "During the years I knew and was married to Strindberg I saw only a completely natural, kind, honorable, faithful man—a 'gentleman'".However, all of Strindberg's marriages were blighted by his jealousy and a sensitivity which has sometimes been considered paranoid and delusional. Courtship
 Bosse later published Strindberg's letters from their courtship and marriage. Incidents narrated in those letters and in <mask>'s own interspersed comments have been analysed at length by biographers and psychiatrists, and have become part of the "Strindberg legend". Even before their first meeting, <mask> had been inspired by the newness and freshness of Strindberg's pioneering plays; an iconoclast and radical with two turbulent marriages already behind him presented an intriguing and irresistible mix to her. Strindberg was susceptible to strong, independent career women, as well as to dainty, delicate-looking young girls; like his first and second wives—Siri von Essen and Frida Uhl—Bosse combined these qualities. He was entranced when he saw the dark, exotic-looking, petite twenty-two-year-old <mask> (who was often cast in sprite roles or what were conceptualized as "Oriental" roles) play her first major part, an impish Puck in A Midsummer Night's Dream. He immediately picked her out as a suitable actress for the part of The Lady in his coming play To Damascus, and invited  her to his bachelor establishment to discuss the role.At this famous first meeting, Strindberg, according to <mask>'s narrative of the event, met her at the door all smiles and charm. Offering her wine, flowers, and beautifully arranged fruit, he shared with her his fascination with alchemy, showing her a golden brown mixture he told her was gold he had made. When she got up to leave, Bosse claims Strindberg asked for the feather in her hat to use for writing his plays. Bosse gave it to him, and he used this feather, with a steel nib insert, to write all his dramas during their marriage. It is now in the Strindberg Museum in Stockholm. Strindberg wooed Bosse by sending her books about theosophy and the occult, by attempting to mould her mind, and by furthering her career. Throwing himself into writing plays with central parts he considered suitable for her, he tried to persuade her to act them, and the Dramaten management to cast her in them.<mask> asserts in her edition of the Letters that she tended to hang back, as did the management, being in agreement that she lacked the experience for major and complex roles. Strindberg, a power in the theatre, nevertheless often prevailed. The role of Eleonora in Easter (1901), which intimidated Bosse by its sensitivity and delicacy, but which she finally undertook to play, turned out to be <mask>'s most successful and beloved role, and a turning-point in <mask>'s and Strindberg's relationship. They became engaged in March 1901, during the rehearsals of Easter, in what in Bosse's narrative may be the best-known incident of the Strindberg legend. Bosse relates how she went to see Strindberg to ask him to give the part to a more experienced actress, but he assured her she would be perfect for it. "Then he placed his hands on my shoulders, looked at me long and ardently, and asked: 'Would you like to have a little child with me, Miss Bosse?' I made a curtsey and answered, as though hypnotized: 'Yes, thank you!'—and we were engaged." Marriage and divorce
<mask> and Strindberg were married on 6 May 1901. Strindberg insisted that Bosse bring none of her possessions to the home he had furnished for her, creating a "setting in which to nurture and dominate her". In this setting, his taste in interior decoration was revealed to be Oscarian and old-fashioned, with pedestals, aspidistras, and dining-room furniture in hideous imitation of German renaissance, to <mask>'s modern judgment. Striving towards the life beyond, Strindberg explained, he could permit nothing in the apartment that would lead the thoughts towards the earthly and material. In her comments in the Letters, Bosse described with loyalty and affection Strindberg's protectiveness and his efforts to bring his young wife with him along his own spiritual paths; nevertheless, she chafed under these efforts, pointing out that she herself, at 22, was not even remotely finished with this world. Increasingly agoraphobic, Strindberg attempted to overcome his anxieties and allow his young wife the summer excursions she longed for.He planned sunny drives in hired victorias, but often the mystical "Powers" which governed him intervened. A crisis came as early as June 1901, when Strindberg arranged, and then at the last moment called off, a honeymoon trip to Germany and Switzerland. Bosse wrote in the Letters that she had nothing to do but stay at home and choke down the tears while Strindberg attempted consolation by giving her a Baedeker "to read a trip in". The cancelled journey was the beginning of the end. A crying, defiant Bosse went off by herself to the seaside resort Hornbæk in Denmark, a much shorter trip, but to her senses, a delightfully refreshing one. There, she was soon followed by Strindberg's letters, full of agonized

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 remorse at having given her pain, and then by Strindberg himself, steeling himself to bear the social life Bosse relished. However, the relationship quickly foundered on jealousy and suspicion, as when Strindberg struck a photographer over the head with his stick, unable to endure any attention to Bosse.In August, when Bosse discovered that she was pregnant, even Strindberg's delight (he was a fond parent of the four children of his previous marriages) could not save a marriage full of distrust and accusation. This was illustrated in Strindberg's increasingly frantic letters to Bosse When their daughter Anne-Marie was born on 25 March 1902, they were already living apart. "For the sake of us both it is best that I do not return", wrote Bosse in a letter to Strindberg. "A continuation of life together with suspicion of every word, every act of mine, would be the end of me." At her insistence, Strindberg began divorce proceedings. Strindberg's roles for Bosse
The relationship of Strindberg and Bosse was highly dramatic. Strindberg would lurch back and forth from adoration of Bosse as the regenerator of his creativity ("lovely, amiable, and kind") to a wild jealousy (calling her "a small, nasty woman", "evil", "stupid", "black", "arrogant", "venomous", and "whore").His letters show that Bosse inspired several important characters in his plays, especially during the course of 1901, and that he manipulated her by promising to pull strings so that she could play them. During the brief, intense, creative 1901 period, the roles Strindberg wrote as artistic vehicles for Bosse, or that were based on their relationship, reflect this combination of adoration and "suspicion of every word, every act". Carla Waal counts eight minor and six major roles written for Bosse to act, or as portraits of her, several of them classics of Western theatre history. The major roles enumerated by Waal are The Lady in To Damascus (1900; mainly already written when <mask> and Strindberg met, but used between them to enhance their intimacy); Eleonora in Easter (1901; modelled on Strindberg's sister Elisabeth, but intended for Bosse to star in); Henriette in Crimes and Crimes (1901); Swan White in Swan White (1901); Christina in Queen Christina (1901); and Indra's daughter in A Dream Play (1902). The years refer to dates of publication; <mask> never played in Swan White, even though Strindberg kept proposing it, and though she was many years later to describe this play as Strindberg's wedding present to her. Strindberg claimed that Queen Christina was an "explanation" of Bosse's character as being that of an actress in real life, flirtatious and deceitful. In his influential Strindberg biography, Lagercrantz describes this play as a synopsis of the entire course of the Bosse–Strindberg marriage.He sees the courtiers as representing various stages of Strindberg's own emotions: Tott, in the first glow of love; de la Gardie, betrayed but loyal; Oxenstierna, who has rejected her. Each of the three men has words to speak which Strindberg himself had spoken to Bosse. A Dream Play is positioned at the median of Strindberg's series of portrayals of his own marriage, the Bosse role imbued with both light and darkness. With its associative dream structure, this play is a milestone of modernist drama, described by Strindberg as a lawless reflection of The Dreamer's (Strindberg's) consciousness, limited only by his imagination which "spins and weaves new patterns… on an insignificant basis of reality". Agnes, played by and representing Bosse, is the daughter of the Vedic god Indra, descending to earth to observe human life and bring its disappointments to the attention of her divine father. The "Oriental" aspect of the play is based on Bosse's dark, exotic looks. Yet she is also drawn into mere humanity and into a claustrophobic marriage to The Lawyer, one of the versions of The Dreamer and, thereby, of Strindberg.Shut up indoors by a possessive husband, Agnes can not breathe; she despondently watches the servant working to exclude light and air from the house by pasting insulating strips of paper along the windows' edges. Recognizably, the "insignificant basis of reality" of Agnes' marriage to The Lawyer is the frustration of the newly married Bosse, yearning for fresh air, sunshine, and travel but fobbed off with a Baedeker. Independence

Both before and after the divorce from Strindberg, <mask> was a Stockholm celebrity in her own right. Her independence and self-supporting status gained her a reputation for being strong-willed and opinionated, insisting on, and receiving, high pay and significant roles. She left Dramaten with its conventional repertoire and began working at Albert Ranft's Swedish Theatre, where she and the skillful but more modest actor (Anders) Gunnar Wingård (1878–1912) formed a popular co-star team. She travelled frequently, particularly for guest performances in Helsinki, leaving little Anne-Marie with Strindberg, a competent and affectionate father. In 1907, Bosse made theatrical history as Indra's daughter in Strindberg's epoch-making Dream Play.She and Strindberg met weekly for dinner at his house, and remained lovers until she severed connections in preparation for her marriage with Gunnar Wingård in 1908. In 1909 the Wingårds had a son, Bo. This marriage was also brief, ending in divorce in 1912. According to rumour, the cause of the divorce was Wingård's infidelity. However, Strindberg also heard gossip that Wingård's large debts threatened Bosse's finances. In 1911, a divorced woman with two children to care for and support, <mask> returned to Dramaten. Strindberg was at that time fatally ill with cancer; he died on 14 May 1912.1912 was altogether a year of death and disaster for the <mask> and Strindberg families: Alma Fahlstrøm's son Arne went down with the Titanic on 15 April; Strindberg's first wife Siri von Essen died later the same month; von Essen's and Strindberg's daughter Greta, a promising young actress, was killed in a train crash in June; and Bosse's divorced husband Gunnar Wingård shot himself on 7 October. Strindberg's funeral was a national event. Gunnar Wingård, a popular and charming actor, was also the subject of public grief. Throughout these shattering events, which left both her children fatherless, Bosse kept up her busy schedule, apart from a few days off, distraught and grief-stricken, after Wingård's suicide. For months after it, she received anonymous letters and threatening phone-calls, blaming her for Wingård's depression and death. <mask>'s third marriage, 1927–32, was to Edvin Adolphson (1893–1979), fifteen years her junior. Adolphson had abandoned his stage career in order to become instead a film director and one of the best-known Swedish film actors, a ruggedly handsome matinée idol whose screen persona Nils Beyer referred to as a combination of "apache, gangster and gigolo".<mask> made two films, ambitiously shot and directed and based on novels by well-known writers. The artistic achievement of Sons of Ingmar (1919) has been highly praised. Directed by and co-starring Victor Sjöström, it was based on a novel by Swedish Nobel Prize winner Selma Lagerlöf; many years later, Ingmar Bergman referred to Sons of Ingmar as a "magnificent, remarkable film" and acknowledged his own debt to Sjöström. <mask>, who played the female lead Brita, called Sons of Ingmar "the only worthwhile Swedish film I was involved in." However, the film failed to give her career the kind of fresh start that the Swedish film industry had given Edvin Adolphson, and it was seventeen years before she made another film. This was Bombi Bitt and I (1936), her only talkie, based on Fritiof Nilsson Piraten's popular first novel with the same title and directed by Gösta Rodin. Bombi Bitt was a successful, though more lightweight, production with a smaller Bosse role ("Franskan").Retirement
After many years of ambitious and successful free-lance acting, <mask> found her options narrowing in the 1930s. The Great Depression brought her economic hardship, and, even though she looked younger than her age, most important women's roles were out of her age range. Her technique was still often praised, but also sometimes perceived as old-fashioned and mannered, in comparison with the more ensemble-oriented style of the times. Finding herself unneeded by any Swedish repertory theatre, she only managed to return as a member of Dramaten by means of skillful persuasion and pointed reminders of her long history there. A humble employee at a humble salary, she played only fifteen roles, all minor, during her last ten years at Dramaten, 1933–43. Retiring from the stage during World War II, <mask> considered moving back to Norway's capital Oslo, the home of her childhood and youth. Both her children had settled there.The move was delayed for ten years, during which she travelled whenever possible, and when it took place in 1955, she perceived it to be a mistake. Her brother Ewald's death in 1956 left her the only survivor of the fourteen children of Anne-Marie and Johann Heinrich Bosse. "How I long desperately for Stockholm", she wrote to a friend in 1958. "My whole life is there." She became chronically melancholy, enduring failing health and bitter memories of the final phase of her career at Dramaten. She died on 2 November 1961 in Oslo. Bosse always guarded her privacy, so much so that the memoir she wrote of her life with Strindberg was deemed to be too uninterestingly discreet to be publishable.Notes

References
 Beyer, Nils (1945). Skådespelare. Stockholm: Kooperative Förbundets bokförlag. Brandell, Gunnar (1950). Strindbergs infernokris. Stockholm: Bonniers. Lagercrantz, Olof (1979; translated from Swedish by Anselm Hollo, 1984).August Strindberg. London: Faber and Faber. Martinus, Eivor (2001). Strindberg and Love. Oxford: Amber Lane Press. Paulson, Arvid (ed. and translated, 1959).Letters of Strindberg to <mask>. New York: Thomas Nelson and Sons. Strindberg on Drama and Theatre: A Source Book. (Selected, translated and edited by Egil Törnqvist and Birgitta Steene, 2007). Amsterdam University Press. Waal, Carla (1990). <mask>: Strindberg's Muse and Interpreter.Carbondale and Edwardsville: Southern Illinois Univ. Press. Further reading

External links

 The Strindberg Museum in Stockholm

1878 births
1961 deaths
Actresses from Oslo
Norwegian stage actresses
Norwegian film actresses
Norwegian silent film actresses
20th-century Norwegian actresses
Norwegian people of German descent
Swedish stage actresses
Swedish film actresses
Swedish silent film actresses
20th-century Swedish actresses
Litteris et Artibus

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<mask> (born March 25, 1985) is a Canadian-American country music artist who ranked sixth on the second season of American Idol in 2003. Rasmusen also plays piano and guitar. Early life
Rasmusen was born on March 25, 1985 in Edmonton and is of Norwegian heritage. She is a member of The Church of Jesus Christ of Latter-day Saints. The second of four children, Rasmusen has been performing in public since the age of five: singing, dancing (including cheerleading, tap, ballet and hip-hop dance), and playing the piano. She graduated from Woods Cross High School in Northern Utah in 2003, and is an alumna of Brigham Young University. American Idol
Rasmusen auditioned initially in Los Angeles and was put through to Hollywood.She was originally eliminated by the judges during the Top 100 stage. In a surprise move, Rasmusen and three other young female singers were brought back to compete in the Wild Card show. No clear reason was made public, but speculation at the time centered on the show's producers wanting to provide a greater demographic diversity in the Final 12. Rasmusen performed "Can't Fight the Moonlight" by LeAnn Rimes for her Wild Card performance. Although the judges, including Simon Cowell, opined that it was not a good enough performance to advance, the next night Cowell chose her as his "judge's choice" to move into the Top 12. <mask> survived for seven weeks in the finals, earning generally mixed reviews from the judges throughout her stay. Her performances of "You Can't Hurry Love" and "Turn the Beat Around" received relatively high marks from both judges and viewers, while her rendition of Blondie's "Call Me" during Billboard Number One Hits Night drew brickbats.Judge Randy Jackson was often one of her harshest critics. <mask> was praised by her fans as having a wholesome, girlish appeal and for refusing to wear outfits she thought were inappropriate for her. Fans also cited her on-stage energy and strong vocal projection. Detractors pointed to her recurring difficulty in controlling her natural vibrato and her tendency to yodel when changing registers. She was also one of the most outspoken defenders of the show among the second season finalists in the wake of the scandal involving Corey Clark's allegations regarding Paula Abdul. As the only contestant in the second season under the age of eighteen, she had to spend three hours a day with an on-set tutor. Her mother had to accompany her with the other contestants to the special American Idol house, where they all lived during the competition.She also became close friends with season 2 runner-up Clay Aiken. After her elimination, she went on to appear in numerous shows promoting American Idol and she appeared on the last episode of the second season singing with the other finalists. Rasmusen also appeared on the American Idol Season 2: All-Time Classic American Love Songs singing "How Do I Live" by LeAnn Rimes. In June 2008, Rasmusen starred as one of the headliners for a live music show in Branson, MO, called America's Favorite Finalists. The show featured six top 12 American Idol Finalists performing their own music, cover songs and group numbers. The show ran at the Grand Palace. Performances
Wildcards - "Can't Fight the Moonlight" by LeAnn Rimes
Top 12 (Motown) - "You Can't Hurry Love" by The Supremes
Top 11 (Movies) - "Hopelessly Devoted to You" by Olivia Newton-John
Top 10 (Country Rock) - "Wild Angels" by Martina McBride
Top 8 (Disco) - "Turn the Beat Around" by Vicki Sue Robinson (Bottom 2)
Top 8 (Billboard Number One Hits) - "Call Me" by Blondie
Top 7 (Billy Joel's Music) - "And So It Goes" (Bottom 2)
Top 6 (Diane Warren's Music) - "Love Will Lead You Back" by Taylor Dayne (Eliminated)
 Due to Corey Clark's disqualification, the Top 9 performances became Top 8 when no one was eliminated.Music career

<mask>
Her first EP, <mask>, was self-released and included her first single, Photograph. Nothin' Like the Summer
Rasmusen is signed with Lofton Creek Records. Her debut album, Nothin' Like the Summer was released on August 28, 2007, and the first single, "Nothin' Like the Summer", debuted in the United States on April 24, 2007 and also debuted in Shanghai, Australia and United Kingdom. The song was written by Rasmusen, Victoria Shaw and Jason Deere, who also produced both the song and her album. Rasmusen did a radio tour in support of the album; she participated in shows at 30 radio stations and 10 television shows including Fox, MSNBC, Today, and Geraldo. She also opened concerts for Tracy Byrd and Jason Michael Carroll. As part of her tour, she started a new program called "Hitching a Ride" where fans can hitch a ride and hang on her tour bus.Acting career
<mask> made her acting debut in 2003 in the feature film Pride and Prejudice: A Latter-Day Comedy as Charlotte Lucas. In 2004, <mask> released an EP by R3 Records, <mask>. Rasmusen also appeared in a three episode series of NBC's Fear Factor, aired on June 13, 2006 - June 27, 2006. In the first episode, she was teamed with Anthony Fedorov, and won the first challenge involving a demolition derby, ultimately winning a trip to Africa. She finished in second place. In June 2006, <mask> played a news reporter in commercials for Maverik, a convenience store in the western USA. Other projects
In the fall of 2007, <mask>'s first book was released.Staying in Tune discusses how she's been able to uphold her values while involved with the entertainment industry. Personal life
On December 15, 2005, <mask> married Bradley Herbert, the son of former Utah Governor Gary R. Herbert in Bountiful, Utah. In December 2008, she gave birth to a son named Boston. Her second son, Beckham, was born on October 26, 2010. <mask> currently writes an entertainment column for the Deseret News. Discography

Studio albums

Singles

Music videos

Filmography
Pride & Prejudice: A Latter-Day Comedy (2003), as Charlotte Lucas
Down and Derby (2005), as Marilyn

Awards and nominations

References

External links
Lofton Creek Records

1985 births
Living people
Canadian people of Norwegian descent
Canadian Latter Day Saints
Canadian emigrants to the United States
Brigham Young University alumni
Deseret News people
Actresses from Edmonton
American Idol participants
Canadian television actresses
Canadian child singers
Canadian country singer-songwriters
Musicians from Edmonton
Lofton Creek Records artists
21st-century Canadian actresses
American columnists
American women columnists
21st-century Canadian women singers
21st-century American women

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<mask> (born 21 September 1957) is a Russian operatic soprano. Her son <mask> (1980) – pianist, conductor, composer. Biography

For the first nineteen years of her life, <mask> lived in Petrozavodsk (Republic of Karelia, Russia). To begin with, she graduated as a pianist from the Petrozavodsk School of Music, and then completed a Dual Degree, studying theory and singing (the latter with Z.I. Larkina) – achieving distinction in both disciplines – at the K.E. Rautio Music College. In 1983 she graduated from the Saint Petersburg Conservatory (vocal class of E.A.Abrosimova) as a spinto soprano. During her studies at the conservatoire, <mask> performed the role of Violetta ("La Traviata") at the Conservatoire Opera Studio. She was the winner of the Second Prize at the Villa-Lobos Competition in Rio de Janeiro in 1983, as well as receiving the Fourth Prize in the International Tchaikovsky Competition in 1986. She began her operatic career in earnest in 1984, performing a number of leading roles as part of the Mikhaylovsky Theatre (formerly the Maly Opera Theatre) in St. Petersburg. After competing in the Tchaikovsky Competition she was invited to join the Bolshoi Theatre company where, starting in January 1987, she became one of its leading sopranos, as well as performing in many renowned concert halls in Moscow and St. Petersburg. She made numerous radio and State Television appearances. Between 1987 and 1993, <mask> was the Prima Donna of choice for a wide variety of roles, including those of Maria (Tchaikovsky's "Mazeppa", dir.S.F. Bondarchuk) and Amelia (Verdi's "Un Ballo in Maschera", dir. S.A. Stein) in 1987; Elisabeth of Valois (Verdi's "Don Carlos", dir. I.M. Tumanov) and Santuzza (Mascagni's "Cavalleria Rusticana", dir. S.A. Stein) in 1988; Tatyana (Tchaikovsky's "Eugene Onegin", dir. B.A.Pokrovsky) and Lisa (Tchaikovsky's "The Queen of Spades", dir. Baratov) in 1989; Oksana (Rimsky-Korsakov's "Christmas Eve", dir. A.B. Tittel) in 1990; and Joan (Tchaikovsky's "Maid of Orleans", dir. B.A. Pokrovsky) in 1992 and 1993, as well as many others. One of the directors of the Bolshoi company, V.G.Milkov, offered this appraisal of <mask>'s talent: "She wields a voice possessed of the most radiant timbre, imbued with a wide palette of shades and hues, all underpinned by an acting ability of great resolve and persuasion". Renowned Russian music critic A.E. Hripin noted that "any classification of this soprano can only be tentative and provisional, for she combines all the colours and sounds feasible for a female voice, from the velvety contralto timbre of the lower register to the brilliant coloratura at the high end of her diapason. Her vocal range  is unique – from Es3 to Es6. The lower, "chest" register envelops the ear, it's dense and resonant. The top is remarkable for its clear, silvery penetration. She combines tremendous virtuosity with incredible power..." ("SK", 06/10/1990).At the end of the 1980s <mask> collaborated with M.V. Yurovsky's "Forum" theatre on a revival of Bortniansky's opera "Quinto Fabio", culminating in her taking on the role of priestess Fausta in the first ever performances of the opera in Russia (1990). She first sang in the West in 1991 when she travelled to the Metropolitan Opera, New York, and the Edinburgh festival with the Bolshoi Company. She was immediately acclaimed as an artist of exceptional talent and invited by the La Scala Theatre to act as an understudy for the title role of Puccini's "Manon Lescaut" in February 1992. After only a few rehearsals, the conductor, Lorin Maazel, promoted her to the premiere cast, as well as inviting her to record the role with Sony Classical. The performances and the recording met with tremendous acclaim, and this turn of events served as the catalyst that established the young soprano's reputation on the international stage. Later the same year, again at La Scala, <mask> took on the role of Elisabeth of Valois in Verdi's "Don Carlos" (under the baton of Riccardo Muti), and sang the soprano solo in Janáček's "Glagolitic Mass" under Riccardo Chailly.After the successful La Scala debut, <mask> began a long and fruitful creative partnership with some of the most celebrated conductors of recent times, including Lorin Maazel (with whom she toured across Europe, together with the Pittsburgh Symphony Orchestra, throughout 1992, including the World Exposition in Seville) and Riccardo Chailly (the latter having invited her to perform as a soloist with the Royal Concertgebouw Orchestra). <mask> was held in very high regard by Luciano Pavarotti, who performed with her in numerous productions in the 1990s, including "Don Carlos", "Un Ballo in Maschera", "Manon Lescaut", "Andrea Chenier", Verdi's Requiem Mass, amongst others. In the early 1990s <mask> relocated to London and has since performed across the world. She made many critically acclaimed appearances on the stage of the Royal Opera House, London, as Amelia ("Un Ballo in maschera"),  as the eponymous heroine in "Aida", Desdemona in "Othello" (all under Daniele Gatti), as well as Abigaille in Verdi's "Nabucco"; performed "Aida" with Daniel Oren at the Teatro dell'Opera di Roma; took on the title roles in "Tosca" and "Aida" for the New York Metropolitan Opera productions; sang the role of Lisa in Opera Bastille's production of "The Queen of Spades" (dir. A.S. Konchalovsky); appeared as Aida and performed the soprano solo part in Verdi's "Requiem", with Zubin Mehta conducting the Israel Philharmonic Orchestra; as Lisa ("The Queen of Spades") and Manon Lescaut at the Wiener Staatsoper, conducted by Lorin Maazel; as Desdemona in Verdi's "Othello" (Teatro Comunale, Florence); as Leonora in Verdi's "La Forza del destino", Aida and Amelia in "Simone Boccanegra", all for the productions at the Berlin State OperaHouse, Berlin; as Aida in Arena di Verona; and many others. Nina Rautio has performed over twenty leading operatic roles, which included Lady Macbeth ("Macbeth", Verdi); Leonora ("Il Trovatore", Verdi); Mathilde ("William Tell", Rossini); Donna Anna ("Don Giovanni", Mozart). Nina made numerous appearances at the Savonlinna Opera Festival in Finland, reprising the role of Aida, as well as starring as a soloist in gala performances.She participated in the Choregies d'Orange, France, as Desdemona ("Othello), and in the Salzburg Festival, singing the soprano solo in Mahler's Second Symphony – on both occasions the conductor was Lorin Maazel. Back in Russia, <mask> has been involved in a number of projects, such as the "Golden Voices of the Opera" festival in Moscow; the "Stars of the Operatic Stage" concerts, Moscow; the International M.D. Mikhailov Opera Festival in Chebokhsary; the "Aliabyevskaya Musikalnaya Osen" festival, amongst a number of others. As a recitalist/solo soprano, <mask> has a wide-ranging repertoire which includes works by composers such as Beethoven, Mahler, Tchaikovsky, Rachmaninov, Poulenc, Tippett, Stravinsky, G.V. Sviridov, etc. In 1990, in a concert celebrating the 75th birthday of a renowned Russian composer Sviridov, <mask> performed his entire "Cast-off Russia"  lieder cycle (words by Sergei Yesenin), accompanied by E.P. Savelyeva on the piano.In 2002–2003, in the role of Artistic Director of the Musical Theatre of Karelia, <mask> directed their production of Mascagni's "Cavalleria rusticana", as well as taking on the part of Santuzza. In 2003 the government of the Karelian Republic invited her to become the Cultural Affairs Advisor to the president of the republic. She taught vocal studies at the Popov Academy of Choral Art in Moscow. <mask> currently resides in the United Kingdom, London. She is a dedicated teacher, preparing ambitious, promising young students for the demands of the operatic stage. Tchaikovsky's "The Maid of Orleans" (Russian version)
 Debut in Metropolitan Opera (Russian version)
Agency Artistique
 Сольный концерт Нины Раутио на сцене Большого зала консерватории в рамках фестиваля 'Золотые голоса мира в Москве'
 Официальный портал органов государственной власти Республики Карелия

1957 births
Living people
Russian operatic sopranos
Saint Petersburg Conservatory alumni
People from Petrozavodsk
20th-century Russian women opera  singers
21st-century Russian women opera  singers

masks:
Nina Rautio
Jan Karl Rautio
Nina Rautio
Nina
Nina Rautio
Nina Rautio
Nina Rautio
Nina Rautio
Nina
Nina Rautio
Nina
Nina Rautio
Nina
Nina
Nina Rautio
Nina Rautio


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Judy Kay "<mask>" <mask> (born February 18, 1952) is an American pop and country singer, songwriter, and musician. To date, <mask> has received five Grammy Award nominations in the Pop and Country Best Female Vocalist categorieswinning once in 1983as well as an ACM Award for Top New Female Artist and two Billboard Female Album Artist of the Year awards (won consecutively). <mask>'s other awards include a People's Choice Award for "Best Female Vocalist" and the Australian Music Media's "Number One International Country Artist." <mask> has several Gold and Platinum records to her credit, including Juice, Quiet Lies and her first Greatest Hits album. During the 1980s, she charted 14 Top-10 hits across the Billboard Country, AC, and Billboard Hot 100 charts, with many of the recordings achieving crossover success and six of the songs hitting the No. 1 position. Early years
<mask> was born in Lakehurst, New Jersey, and graduated from First Colonial High School in Virginia Beach, Virginia.Her mother encouraged her interest in music, giving <mask> a guitar for her 13th birthday. After high school graduation, <mask> attended Foothill College in Los Altos Hills, California, where she also performed folk music in some local coffeehouses. She then formed a folk-rock band with guitarist and songwriter Otha Young, and toured bars in Northern California with her band. Early music career
In the early 1970s, <mask>, Otha Young and Tom Kealey formed a band that would eventually be called Juice Newton & Silver Spur, which was signed to RCA Records. The group released two albums for RCA, in 1975 and 1976, but scored only one charting country single with "Love Is a Word." The band was dropped by RCA, then joined Capitol Records in 1977. The band disbanded shortly after releasing just one more album.In late 1977, <mask> went solo, continuing to record for Capitol, and until 1982 Silver Spur remained the name of her backing band. <mask> also sang backing vocals for three tracks on Bob Welch's platinum solo debut album, including his hit "Ebony Eyes". Near the end of 1977, "It's a Heartache" became <mask>'s first solo record and a major hit in Mexico, where it was eventually certified Gold, and 1978, she released it in the United States. “It’s a Heartache”  became the first of what would eventually be her 11 "Hot 100" pop hits. Also in 1978, The Carpenters' version of the <mask>-penned song "Sweet, Sweet Smile" reached the Top 10 on both the Country and Adult Contemporary charts, and #44 on the Billboard Hot 100 chart. 1978 was notably also when <mask> legally changed her name from "Judy Kay <mask>" to "<mask> <mask>." ("Juice" having been her nickname until then.)<mask>'s solo debut album Well Kept Secret was released later in 1978. Neither Well Kept Secret nor its sole single "Hey Baby" charted, but Capitol Records did renew <mask>'s contract. In 1979 Capitol's investment in <mask> began to pay off as <mask> had her first Top-40 Country hit with "Let's Keep It That Way" (another one-off single). Later that year, the album Take Heart featured five modestly-charting singles: "Until Tonight", "Any Way That You Want Me", "You Fill My Life", "Lay Back In The Arms of Someone", and "Sunshine". In 1980, "Sunshine" became <mask>'s second top-40 country chart single, "You Fill My Life" reached No. 41, and "Until Tonight" was No. 42.Both of <mask>'s initial solo efforts performed with modest success but failed to have lasting impacts on the album charts. Early 1980s pop music success
In 1981, <mask>'s third solo album, simply titled Juice, was released. It spawned three consecutive Top-10 pop hits, namely "Angel of the Morning" (written by Chip Taylor), "Queen of Hearts", and an updated version of "The Sweetest Thing (I've Ever Known)" (the original version had appeared on the Silver Spur debut album) earned <mask> the first of several No. 1 Country chart singles. A fourth single "Ride 'Em Cowboy" from Juice was released in 1984 to support <mask>'s first Greatest Hits album, reaching  the Billboard Country Top 40 chart. In 1981, <mask>'s video for "Angel of the Morning" was the first country-music video to air on MTV, and the 40th video to air on the channel overall. <mask> was the third female solo artist to be featured on MTV's first air date (after videos by Pat Benatar and Carly Simon).Juice sold more than a million copies in the United States and went Triple-Platinum (300,000 copies) in Canada. "Angel of the Morning" and "The Sweetest Thing (I've Ever Known)" each reached #1 on the Billboard Adult Contemporary chart, where <mask> would chart regularly for the next several years. In 1982, <mask> received two Grammy nominations for Best Female Vocalist: one for "Angel of the Morning" in the Pop category, and another for "Queen of Hearts" in Country. These two singles became her biggest sellers in the United States, each earning an RIAA Gold certification. (Note: in 1981 and 1982, when these singles were certified, the RIAA standard for Gold singles was "more than 1 million copies sold"; in 1989, RIAA lowered the standard to 500,000 for Gold single certifications.) The songs were also sizable hits in Canada, Australia, Germany, the Netherlands, and other countries. For example, "Angel of the Morning" peaked at No.1 in Canada and No. 43 in the UK Singles Chart in 1981. While "The Sweetest Thing (I've Ever Known)" did not receive a U.S. certification, the song's popularity propelled album sales from Gold to Platinum, and the recording remained in the Top 40 (of the Hot 100) for 18 weeks. "Shot Full Of Love" was released as a single in the UK, but failed to chart. In the spring of 1982 <mask> released her fourth solo album, Quiet Lies, which sold 900,000 copies in the United States. The album went platinum in Canada (100,000 copies). From Quiet Lies came the Top 10 Pop and Adult Contemporary hit "Love's Been a Little Bit Hard on Me" (which garnered her another Pop Female Vocalist Grammy nomination)."Break It to Me Gently" was the second single and hit #1 on the Billboard Adult Contemporary chart, #2 on the Billboard Country chart, as well as #9 in Cash Box and #11 on the Billboard Hot 100. The recording, a contemporary remake of a Brenda Lee hit from the 1960s, won <mask> her first Grammy Award for Best Female Country Vocal Performance, beating out contemporaries Dolly Parton, Rosanne Cash, Emmylou Harris and Sylvia. The album's third and final single, "Heart of the Night," reached #4 on the Adult Contemporary chart in early 1983 and climbed to #25 on the Hot 100. The album also garnered <mask> an award from Australia as the "Top International Country Artist" for the continent. In 1982, <mask> toured with country band Alabama on the "Salem Spirit" double-headliner tour. (Various acts opened for <mask> and Alabama.) The direction for <mask>'s sixth and final Capitol album, 1983's Dirty Looks, was decidedly more rock-oriented and experimental than her usual blending of folk, pop and country styles.The album spawned a moderate-sized hit with "Tell Her No" (Hot 100 No. 27/AC No. 14) and the title track, a rock-edged number that charted low in the Hot 100. The single "Stranger at My Door" had a brief run on the country charts. The album was a moderate success, selling more than 300,000 copies in the United States and going Gold in Canada (50,000 copies). (The song "Dirty Looks" was written by Dave Robbins and Van Stephenson, who would later become part of the Country group Blackhawk in the 1990s. The pair also wrote <mask>'s 1984 country single "Restless Heart.")According to a 1984 front-page article in Billboard magazine, changes at Capitol led <mask> to return to RCA. The 1984 album Can't Wait All Night continued with a rock-oriented sound. The launch single, "A Little Love", and the title track became <mask>'s final charting pop singles to date, reaching No. 44 and No. 66, respectively; while "Restless Heart" made No. 57 on the country chart. "A Little Love" became <mask>'s seventh and final Top-10 hit on Billboard's Adult Contemporary chart, reaching the No.7 spot. <mask>'s final double-header "Salem Spirit" tour with Alabama took place during this time, with Bill Medley of The Righteous Brothers as the opening act. From pop to country
<mask> had always been moderately popular in country music; she responded to her waning popularity in the pop market by targeting her next album, 1985's Old Flame, solely to country audiences. The strategic move was a success; the album revitalized her career, reached No. 12 on the Billboard album chart and featured six Top-10 country hits, including the No. 1s "You Make Me Want to Make You Mine", "Hurt," and "Both to Each Other (Friends and Lovers)" (with Eddie Rabbitt), none of which (unlike her previous efforts) appeared at all on the pop charts. The duet was released to the public before the pop version "Friends and Lovers" by Gloria Loring and Carl Anderson; the pop version was released to radio and stores two weeks after <mask> and Rabbitt's version first appeared, even though it was recorded first.<mask>'s version was originally available only on a special edition of the Old Flame album and on the Eddie Rabbitt album Rabbitt Traxx. The "Old Flame" album produced hit singles for more than sixteen months, with the final release being "What Can I Do with My Heart" (written by Otha Young), which reached the Top 10 in early 1987. <mask> returned to the Top 10 in 1988 with "Tell Me True" from her 1987 album Emotion. The album's lead single, the progressive-country tune "First Time Caller," stalled at No. 24. Her final album of the decade, Ain't Gonna Cry (1989), was not promoted by the label and did not chart. But it did spawn her final Top-40 country hit to date, "When Love Comes Around the Bend," which RCA refused to release as a single because <mask>'s contract had not been renewed.After being dropped by RCA Records in 1989 (along with several other country artists, including Dolly Parton and Kenny Rogers, as country music as a whole was about to undergo momentous change), <mask> took time to focus on her family life. <mask> took a hiatus from recording albums, touring sporadically until returning to the music scene in late 1990s when she released the albums The Trouble with Angels (1998) and American Girl (1999). 1990s to present
In 1994, <mask> contributed the track "Lovers of One Day" to an Édith Piaf tribute album which also included songs by Pat Benatar and Donna Summer. In 1995, <mask> recorded a double-album of pop duets (which was slated to be sold via infomercial), but the project was riddled with legal issues, resulting in a low-impact, "accidental" release of the "Platinum & Gold" series of duets in the early 2000s (the CD set was released without <mask>'s permission). Subsequently, bootleg CDs including most of the duets turned up on U.S. store shelves as Gold & Platinum, Volumes 7 and 8. Those CDs also contain 1995 solo versions of three of <mask>'s pop hits "Angel of the Morning", "Love's Been a Little Bit Hard on Me" and "Queen of Hearts". <mask>'s duet partners included Willie Nelson, Melissa Manchester, The Pointer Sisters and Frankie Valli.In 1998, <mask> released "The Trouble with Angels", a collection of seven re-recorded hits and three new songs, including the single "When I Get Over You". The 1998 effort was quickly followed by American Girl in 1999, which was <mask>'s first album of all-new material since 1989 and featured the single "They Never Made It to Memphis". The collection featured tracks written by Otha Young, Freddie Mercury, Nanci Griffith, Tom Petty and <mask> herself. Every Road Leads Back to You (which consists of live material and a bonus EP of four studio recordings of original songs) was released in 2002 with an accompanying DVD. American Girl Vol. II, which was originally sold exclusively at cdbaby.com and at <mask>'s live shows, was released in 2003 and reissued in 2006 and again in 2011 by Brookside Records. In 2005, <mask> appeared on the TV show Hit Me Baby, One More Time on which she performed a folk-rock rendition of Ashlee Simpson's "Pieces Of Me" and a truncated version of "Queen of Hearts"; online voters selected <mask>'s performance as their favorite of the five acts that appeared on the episode.In the mid-2000s, <mask> also contributed tracks to the albums An All-Star Tribute To Cher ("Reason to Believe") and An All-Star Tribute to Shania Twain ("Come On Over"). On November 15, 2007, <mask> released The Gift of Christmas, her first Christmas album. The 12-song album includes a new version of <mask>'s "Christmas Needs Love to Be Christmas" and "Mary's Boy Child", as well as a special Christmas version of "For Believers", an Otha Young-penned song first recorded in 1983 for the Dirty Looks album. On August 6, 2009, <mask>'s longtime musical partner Otha Young died of cancer. The pair worked together for 37 years. On October 26, 2010, <mask>'s Duets: Friends & Memories album was released by Fuel 2000. The album contained duets performed with Willie Nelson, Melissa Manchester, Frankie Valli and others.One single ("Funny How Time Slips Away") has been released. In addition to the domestic album, an import edition was released on November 30, 2010. On July 26, 2011, Fuel 2000 released <mask> <mask>: The Ultimate Hits Collection, which included her own version of the Carpenters' 1978 hit "Sweet Sweet Smile," which <mask> and Otha Young wrote in the '70s. On May 7, 2012, BGO Records issued a two-CD set containing <mask>'s three 1970s Capitol albums: Come To Me, Well Kept Secret and Take Heart. This marks the first time these albums have been available in the CD format. With the release of this set, all <mask>'s 17 studio albums have been issued on CD. In the 2016 film Deadpool, <mask> <mask>'s version of "Angel of The Morning" was used for the opening credits montage.As a result, the track re-charted on the Billboard Country chart, reaching #43, and also hit #3 on Spotify's World Music chart. In 2021, <mask> <mask>'s version of "Angel of The Morning" was featured in the critically acclaimed, Oscar-winning film Promising Young Woman. <mask>'s recording is played for longer than four minutes during the film's climactic scene. Personal life
<mask> bought a thoroughbred gelding named Puppy in 1983 and stabled him at the Los Angeles Equestrian Center. The center's manager was polo star and coach Tom Goodspeed. <mask> married Goodspeed in 1985, and the couple had two children: Jessica and Tyler. Now divorced, <mask> lives in San Diego, California.Besides continuing in the music business, <mask> works as a horse trader. She deals mostly in European horses. Discography

Studio albums

Juice <mask> & Silver Spur (1975)
After the Dust Settles (1976)
Come to Me (1977)
Well Kept Secret (1978)
Take Heart (1979)
Juice (1981)
Quiet Lies (1982)
Dirty Looks (1983)
Can't Wait All Night (1984)
Old Flame (1985)
Emotion (1987)
Ain't Gonna Cry (1989)
The Trouble with Angels (1998)
American Girl (1999)
American Girl Volume 2 (2003)
The Gift of Christmas (2007)
Duets: Friends & Memories (2010)

References

External links

Official website

Austria Chart History
Switzerland Chart History

1952 births
Living people
20th-century American musicians
20th-century American guitarists
20th-century American women guitarists
20th-century American singers
20th-century American women singers
21st-century American musicians
21st-century American singers
21st-century American women singers
American country singer-songwriters
American women country singers
American women singer-songwriters
American women pop singers
American women guitarists
Grammy Award winners
Country musicians from Virginia
Country musicians from New Jersey
People from Lakehurst, New Jersey
Guitarists from Virginia
Guitarists from New Jersey
Singer-songwriters from New Jersey
Singer-songwriters from Virginia
Foothill College alumni
RCA Records artists
Capitol Records artists

masks:
Juice
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton Young
Newton
Newton
Juice
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Newton
Juice
Newton
Newton
Newton
Newton
Juice
Newton
Juice
Newton
Newton
Newton
Newton
Newton
Newton
Newton


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<mask> "Ike<mask>, Jr. (March 27, 1911 – December 5, 2006) was an American environmentalist, lumber industry executive, and state official. He was the only member of California governor Ronald Reagan's cabinet to serve during the full eight years of his administration. He played baseball at the 1936 Summer Olympics in Berlin. Early life and education

Livermore was descended from a pioneer California family with roots in Maine. An ancestor, <mask>, built a grist mill and a saw mill on the Androscoggin River in 1791. The town of Livermore Falls, Maine, is named after that ancestor. His great-grandfather, <mask>, came to California from Maine during the Gold Rush in 1850, and later became a State Senator from Eldorado County.His great-grandfather and his grandfather, Horatio <mask>, who came to California in 1856, used their Maine mill experience to become involved in the earliest days of hydroelectric power, helping to build the original Folsom Dam. His father, <mask> <mask>, was a founding board member of Pacific Gas and Electric. His mother, Caroline Sealy <mask>, was a conservationist in the San Francisco Bay Area, working on protection of the Marin Headlands and Richardson Bay; Mount Livermore on Angel Island is named after her. He had four brothers, geologist <mask> (1918-2013), <mask>, <mask>, and <mask>. <mask> was born in San Francisco in 1911, and grew up on Russian Hill. His summers in childhood were spent at his family's Montesol Ranch on the slopes of Mount Saint Helena that extended into Napa County, Sonoma County, and Lake County. He attended The Thacher School, a private boarding school in Ojai, California, where the "challenges of academics are combined with those of mountains and horses."At age 15, he rode his horse from Ojai to Big Sur, a distance of nearly . He also climbed the Grand Teton in tennis shoes as a youth. <mask> attended Stanford University, receiving a bachelor's degree in Social Science/Social Thought in 1933. He went on to study briefly at the Harvard Business School after graduation. Missing the mountains of the west, he returned to California and earned an MBA from the Stanford Business School in 1936. His thesis was called The Economic Significance of California's Wilderness Areas. Olympic athlete

<mask> had been the captain of the Stanford University baseball team.Former professional baseball player Les Mann was an advocate for baseball as an Olympic sport. As a result of Mann's efforts, baseball was selected as a demonstration sport in the 1936 Summer Olympics played in Berlin. Originally, the United States team was scheduled to play a Japanese team, but the Japanese withdrew. The American team was separated into two squads who competed against each other in a single game. <mask> was the catcher for the "World Champions" lineup which beat the "U. S. Olympics" lineup to win the demonstration game 6-5 before a crowd of 90,000 people on August 12, 1936. Pack station operator

In 1929, <mask> rode a motorcycle up and down the Sierra Nevada, searching for a summer job. On the advice of a park ranger in Sequoia National Park, he was hired at a pack station in Mineral King because of his experience with horses and mules.That first summer, he shod mules, helped the camp cook, and did various chores. The following summer, he began leading mule trains into the wilderness of the High Sierra. The Great Depression hit the pack station business hard, and work was negligible the next two summers. He worked a bit in the summer of 1933, and business picked up for the summer of 1934. In the fall of 1934, he interviewed the operators of dozens of pack stations throughout the Sierra Nevada, questioning them in depth about their business operations. He compiled a list of 71 pack stations operating in California's wilderness areas. This formed the basis for his MBA thesis at Stanford.Beginning in 1934, he advocated for a trade group for pack station operators. By 1936, the High Sierra Packers Association had 35 members, and he served as its executive secretary. In 1937, he bought an interest in the Mineral King Pack Station, and in 1946, bought two pack stations in the eastern Sierra that he merged to form the Mount Whitney Pack Trains. He was the largest wilderness outfitter in the Sierra Nevada for a number of years in the 1940s. World War II service

<mask> was commissioned a lieutenant in the United States Navy during World War II, and participated in the amphibious landings on Sicily, Iwo Jima, Palau and Okinawa. Sierra Club

Livermore joined the Sierra Club in the 1930s. He was the outfitter for many of its High Trips and served on the board of directors of the Sierra Club from 1941 to 1949.He came up with the concept for the first  of the club's Biennial Wilderness Conferences, which was held on April 8–9, 1949. These conferences continued for more than 20 years. During a bitter faction fight in 1969, he consulted with opponents of club executive director David Brower, including Ansel Adams and Richard M. Leonard, to develop a plan to restructure the club after Brower's departure. Brower resigned under pressure during a board meeting held May 3–4, 1969. In 1979, Livermore received the Sierra Club's Walter A. Starr Award for service to the club by a former director. Lumberman

He served as treasurer for the Pacific Lumber Company from 1952 to 1967, when it was committed to sustainable yields, in the years long before the company was acquired by Maxxam, Inc. and went bankrupt. Governor Reagan's cabinet

Livermore, who did not know Ronald Reagan before he was elected Governor of California in 1966, was selected to serve as Reagan's Secretary of Resources.A shared love for horseback riding helped cement a relationship between the men. <mask> served from 1967 to 1975, and was the only Reagan cabinet official who served during the entire eight years of Reagan's administration. He developed a close friendship with Reagan during those years. Livermore convened a meeting between Governor Reagan and Nevada Governor Paul Laxalt that resulted in an agreement to preserve the Lake Tahoe basin. <mask> worked with Reagan to defeat the proposed Trans-Sierra Highway, which would have divided the longest stretch of wilderness area in the contiguous 48 states and would have bisected the John Muir Trail. Livermore organized a wilderness trip by Ronald Reagan beginning on June 27, 1972. Departing from Red's Meadow near Devils Postpile National Monument, the Reagan party was carried by 100 packhorses.Reagan gave a ringing speech pledging that the Trans-Sierra Highway would never be built. Although <mask> organized the trip, he did not participate in it himself, because he was serving as a U. S. delegate to the 1st United Nations Conference on the Human Environment in Stockholm at the time. <mask> negotiated the compromise land deal that made it possible for the Reagan administration to endorse the campaign for a Redwoods National Park, leading to its success. <mask> also convinced Reagan to oppose construction of the Dos Rios Dam on the Eel River in Round Valley, saving the ancestral home of the local Indian tribe. When advocates of the dam urged him to consider facts not emotions, he responded, "Look, emotion is a fact. The solitude of the wilderness, the beauty of a flower - those are facts." Reagan biographer Lou Cannon said that Livermore succeeded because he "worked with the governor instead of against him.He never criticized Reagan to outsiders, and he wrote letters to newspapers extolling his environmental record. Inside the Cabinet, however, he waged a valiant struggle to educate Reagan on the need to get beyond the minimalist positions of the lumber companies." Cannon summarized Livermore's legacy, "On environmental issues, Livermore stood in the Republican tradition of Theodore Roosevelt, Hiram Johnson and Earl Warren, all more conservationist than conservative." Carl Pope of the Sierra Club summarized the organization's opinion of <mask>'s performance in the Reagan gubernatorial administration. "He was a real hero in our view. He was largely responsible for the fact that Reagan's environmental record in Sacramento was pretty good, in spite of the fact that Reagan said fairly outrageous things" about environmental issues. Trusted Reagan advisor Michael Deaver said about Livermore that "He was a valuable member of Ronald Reagan's cabinet.Ike brought tremendous credibility through his efforts in the environment. He was not only a cabinet member but a personal friend (of Reagan). He had great, great respect for Ike." Environmentalist and author Martin Litton summarized <mask>'s role in the Reagan administration, "Ike was a Republican. He was a good person to have there because he was so pro-wilderness. If he had an obsession at all, it was to keep the Sierra Nevada wild for the whole stretch from Tioga Pass in Yosemite National Park south to Walker Pass. And that meant keeping the trans-Sierra roads out of there."After Reagan was elected President in 1980, <mask> headed his transition team for the Environmental Protection Agency. Board service

<mask> served on the boards of many organizations, including the National Audubon Society, the Save the Redwoods League, the Thacher School, the Sierra Club, The Peregrine Fund and the Stanford Business School Advisory Council. He served as treasurer of the Commonwealth Club. He chaired the Bureau of Land Management Wild Horse and Burro Commission. He was a longtime member of the California Fish and Game Commission, and served as its president from 1982 to 1983. While on that body, he worked on recovery of the California condor population. He served as Grand Marshal of the Bishop Mule Days.Hetch Hetchy activism

<mask> was a longtime advocate of restoring the Hetch Hetchy Valley in Yosemite National Park by removing O'Shaughnessy Dam. He served on the advisory committee for the grassroots advocacy group "Restore Hetch Hetchy" until his death. <mask> died in Novato, California, on December 5, 2006. References

External links
 The Thacher School - Remembering Ike Livermore
 <mask> “Ike<mask> Jr Memorial - Find A Grave

Sierra Club directors
Reagan administration personnel
American male equestrians
Olympic baseball players of the United States
Baseball players at the 1936 Summer Olympics
Stanford University alumni
Stanford Cardinal baseball players
United States Navy personnel of World War II
1911 births
2006 deaths
American environmentalists
People from San Francisco
The Thacher School alumni
United States Navy officers

masks:
Norman Banks
" Livermore
Elijah Livermore
Horatio Gates Livermore
Putnam Livermore
Norman Banks
Livermore
Livermore
John Livermore
Putnam Livermore
Robert Livermore
George Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Livermore
Norman Banks
” Livermore


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<mask> (August 17, 1924 – April 18, 1967) was an American philosopher of science. <mask> was a pioneer in advancing the argument that observation is theory-laden — that observation language and theory language are deeply interwoven — and that historical and contemporary comprehension are similarly deeply interwoven. His single most central intellectual concern was the comprehension and development of a logic of discovery. Work
<mask>'s best-known work is Patterns of Discovery (1958), in which he argues that what we see and perceive is not what our senses receive, but is instead filtered sensory information, where the filter is our existing preconceptions – a concept later called a 'thematic framework.' He cited optical illusions such as the famous old Parisienne woman (Patterns of Discovery, p. 11), which can be seen in different ways. <mask> drew a distinction between 'seeing as' and 'seeing that' which became a key idea in evolving theories of perception and meaning. He wanted to formulate a logic explaining how scientific discoveries take place.He used Charles Sanders Peirce's notion of abduction for this. <mask>'s other books include The Concept of the Positron (1963). <mask> was a staunch defender of the Copenhagen interpretation of quantum mechanics, which regards questions such as "Where was the particle before I measured its position?" as meaningless. The philosophical issues involved were important elements in <mask>'s views of perception and epistemology. He was intrigued by paradoxes, and with the related concepts of uncertainty, undecidability/unprovability, and incompleteness; he sought models of cognition that could embrace these elements, rather than simply explain them away. <mask>'s posthumous works include What I Do Not Believe and Other Essays (1971) and Constellations and Conjectures (1973).He is also known for the essays What I Do Not Believe and The Agnostic's Dilemma, among other writings on belief systems. From Michael Scriven's preface to <mask>'s posthumous Perception and Discovery:

In a general sense <mask> continues the application of the Wittgensteinian approach to the philosophy of science, as Waissman and Toulmin have also done. But he goes much further than they, exploring questions about perception and discovery in more detail, and ... tying in the history of science for exemplification and for its own benefit. <mask> was one of the rare thinkers in the tradition of Whewell – a man he much admired – who could really benefit from and yield benefits for both the history and philosophy of science. Influence

<mask>'s 1958 work Patterns of Discovery was followed up on by Thomas Kuhn in Kuhn's 1962 landmark, The Structure of Scientific Revolutions, that challenged prevailing conceptions of science's development, conceptions that ranged from the strictures of logical empiricism to naive presumptions of objective scientific realism. <mask> led the move to carry history of science into philosophy of science—two rather divergent fields at the time—as <mask> insisted that proper study of one demanded deep understanding of the other. With Kuhn's contribution, <mask>'s interdisciplinary view became generally accepted.Similarly, Robert Nozick's 1974 work on political philosophy, Anarchy, State, and Utopia, quotes <mask> to support Nozick's aim to understand the "whole political realm" by "understanding the political realm in terms of the nonpolitical". Life

<mask> was born in 1924 in West New York, New Jersey. He studied trumpet with the legendary William Vacchiano and played at Carnegie Hall, but his musical career was interrupted by World War II. He enlisted in the United States Coast Guard, later transferring to the United States Marine Corps, where he trained as a fighter pilot, developing a reputation as a 'hot pilot' (famously looping the Golden Gate Bridge). He served on the ill-fated USS Franklin in the VMF-452 "Skyraiders" Squadron, for which he designed the unit's logo. When the Franklin was bombed and nearly destroyed on 19 March 1945, his Corsair was described as 'the last plane off Big Ben.' After flying over 2,000 hours, he returned to civilian life, seeking an education via the G.I.Bill rather than continuing a life in music. He took degrees from the University of Chicago and Columbia University, then proceeded with his new wife Fay to the UK in 1949, under a Fulbright Scholarship. He completed multiple degrees at both Oxford and Cambridge, and stayed in Britain to continue teaching and writing. <mask> left the life of a Cambridge don to return to the U.S. in 1957, founding the Indiana University Department of History and Philosophy of Science, the first of its kind, and receiving a Fellowship at the Institute for Advanced Study in Princeton, New Jersey. In 1963, <mask> moved to Yale University. He also continued to fly – an AT-6 Texan trainer, and later a Grumman F8F-2 Bearcat. His unusual style and personal history, including his aerobatics over the Yale Bowl and at airshows as 'The Flying Professor,' were noted by a generation of students – including John Kerry.His time at Yale was strained by campus politics, where he was caught in the midst of an infamous 1964-65 fight over Yale's tenure policies (the "Bernstein Affair"). <mask> died in 1967, when his Bearcat crashed in dense fog en route to Ithaca, New York. He was survived by wife Fay and children Trevor (b. 1955) and Leslie (b. 1958). His rich, complex life – ranging from Golden Gloves boxing to drawing illustrations for Homer's Iliad; from camping on a Harley-Davidson to testifying before the U.S. Senate; from tough city youth to distinguished scholarship – was cut short at the age of 42, with ten books in progress, including a history of aerodynamic theory. Works
Books
Patterns of Discovery: An Inquiry into the Conceptual Foundations of Science.Cambridge University Press, 1958. . The Concept of the Positron. Cambridge University Press, 1963. . Perception and Discovery: An Introduction to Scientific Inquiry. Freeman, Cooper & Co., 1969 [Wadsworth, 1970]. . Observation and Explanation: A Guide to Philosophy of Science. (Harper Essays in Philosophy) Harper & Row, 1971. .
What I Do Not Believe and Other Essays, (Toulmin/Woolf, eds).Synthese Library, D. Reidel, 1971. .
Constellations and Conjectures, (Humphreys, ed). D. Reidel, 1973. .
Other media
 "Philosophy of Science: Observation and Interpretation", Voice of America broadcast from 1964 (recorded 1963), ARC Identifier 106673, Local Identifier 306-FORUM-EN-L-T-6456-I, Record Group 306: Records of the U.S. Information Agency, 1900 - 1992 (cited at https://research.archives.gov/search, retrieved by searching for "philosophy science observation interpretation")

See also

 American philosophy
 List of American philosophers

References
Notes

Bibliography

 Lund, Matthew D., N.R. <mask>: Observation, Discovery, and Scientific Change. Humanity Books, 2010. .
 Kranish, Michael et al., John F. Kerry: The Complete Biography By The Boston Globe Reporters Who Know Him Best. PublicAffairs, 2004. . Remarks about connection between <mask> and John Kerry
 Thomas J. Hickey, History of Twentieth-Century Philosophy of Science. [http://philsci.com/book7.htm Brief biography of <mask> – The semantics of discovery
 Weiland, Charles Patrick, Above & Beyond.I Books, 2004. [prior: Pacifica Press, 1997. ]. Recent memoir, by <mask>'s WWII commanding officer, of his squadron's fate on USS Franklin. Many anecdotes about <mask> – e.g. a reprimand for 'flathatting' a military airfield scant feet over the runway...while flying inverted – but also factual errors on <mask>'s military and subsequent career. 1924 births
1967 deaths
20th-century American non-fiction writers
20th-century American philosophers
Philosophers of science
Philosophers from New York (state)
American aviators
United States Coast Guard personnel of World War II
United States Naval Aviators
United States Marine Corps officers
Aviators killed in aviation accidents or incidents in the United States
Victims of aviation accidents or incidents in 1967
United States Navy pilots of World War II

masks:
Norwood Russell Hanson
Hanson
Hanson
Hanson
Hanson
Hanson
Hanson
Hanson
Hanson
Hanson
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<mask> (born August 28, 1956) is an American former professional basketball player. Amateur career
<mask> played high school basketball at Romulus High School, and signed to play for Dick Vitale at the University of Detroit. <mask> established himself quickly with a Detroit program that would produce an unprecedented run during his time with the Titans (1974-1978). Vitale added future NBA players such as Terry Duerod, Terry Tyler and Dennis Boyd and built a dominating independent program at the Jesuit university. <mask> played shooting guard for the team, averaging 23.3 ppg on a .525 shooting percentage as a senior. UD advanced to the 1977 NCAA Division I Basketball Tournament in his junior year, defeating Middle Tennessee in the first round before losing to Michigan in the Sweet 16 86-81 to end a stellar season, finishing #12 in the polls. The team was left out of the NCAA in <mask>s's senior year, 1977-78, playing in the 1978 NIT, despite a 25-4 record and a #18 ranking.In four seasons at Detroit, <mask> scored 2,167 points, the first Titan to score more than 2000 points, and was inducted into the Detroit Mercy Titans Hall of Fame in 1993. Professional career
After starring at the University of Detroit, the shooting guard was selected by the Detroit Pistons in the second round of the 1978 NBA draft. The move was largely influenced by Pistons Head Coach Dick Vitale, who coached <mask> at UD before going to the Pistons in 1978. He played eight seasons for the Pistons, and averaged a career-high 21.9 points per game in 1981–82. <mask> was the original backcourt partner to point guard Isiah Thomas before Joe Dumars was drafted. During his time with the Pistons, <mask> would play alongside University of Detroit teammates Duerod, Boyd and Tyler. <mask> left Detroit to play for the Indiana Pacers in 1986, where he paired with Reggie Miller, and then returned to the Pistons in the 1988-89 Detroit Pistons season, helping the team win the NBA championship.He spent the next season with the Atlanta Hawks and then returned to Detroit in 1990-91, played in France, the Continental Basketball Association, and even played with a touring team for <mask>. Not done, <mask> signed with the Toronto Raptors in 1996, played with the Raptors for one season, and then retired in 1997 with 12,131 career points. At the time, the 41-year-old <mask> was the second oldest player in the NBA behind Robert Parish, who was 43. Personal life
Two of <mask>'s nephews, Terry Mills and <mask>, also played in the NBA. The nephews were teammates in Detroit during the 1996–1997 season. All three men played two seasons or more for the Detroit Pistons. <mask> has worked as a radio analyst for the Pistons.<mask> was inducted into the Michigan Sports Hall of Fame in 2016.

masks:
John Eddie Long
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Magic Johnson
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John Long
Grant Long
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<mask> (born June 24, 1938) is an American crime writer best known for two long-running New York-set series about the recovering alcoholic P.I. Matthew Scudder and the gentleman burglar Bernie Rhodenbarr. <mask> was named a Grand Master by the Mystery Writers of America in 1994. Early life
<mask> was born June 24, 1938 in Buffalo, New York, where he was raised. He attended Antioch College in Yellow Springs, Ohio, but left before graduating. <mask>'s earliest work, published pseudonymously in the 1950s, was mostly in the soft-porn mass market paperback industry, an apprenticeship he shared with fellow mystery author Donald E. Westlake. <mask> describes the early sex novels as a valuable experience, noting that despite the titillating content of the books (rather mild by later standards of adult fiction) he was expected to write fully developed novels with plausible plots, characters and conflicts.He further credits the softcore novels as a factor in his prolific output; writing 15 to 20 sex novels per year to support himself financially, <mask> was forced to learn to write in a manner that required little revision and editing of his first drafts. His first novel was a lesbian fiction titled Strange Are The Ways of Love, written under the name Lesley Evans. In 2016, <mask> reissued this novel with a new title Shadows, under another of his pseudonyms, Jill Emerson. The first of his work to appear under his own name was the 1957 story "You Can't Lose," for the crime/adventure magazine Manhunt. The first novel to be published under <mask>'s name was Grifter's Game (1961). It started as an erotic novel but, as <mask> would later write, "I decided it might be a cut above what I'd been writing, so I wrote it as a crime novel with the hope it might work for Gold Medal." He has since published more than fifty novels and more than a hundred short stories, as well as a series of books for writers.<mask> has lived in New York City for decades, setting most of his fiction there, and has come to be very closely associated with the city. He is married to Lynne <mask>. He has three daughters, Amy Reichel, <mask> and Alison Pouliot, from an earlier marriage. With Lynne, he spends much of his time traveling (the two have been to 135 countries), but continues to consider New York his home. He was a regular guest on The Late Late Show with Craig Ferguson (2005-2015), appearing in eight of Ferguson's ten seasons as host of the program. Considerable autobiographical information on the earlier phase of his life and career may be found scattered through Telling Lies for Fun and Profit (1981), a collection of his fiction columns from Writer's Digest. In 2005 he was honored with the Gumshoe Lifetime Achievement Award.<mask> is an alumnus of the Ragdale Foundation. Recurring characters

Matthew Scudder

<mask>'s most famous creation, the ever-evolving Matthew Scudder, was introduced in 1976's The Sins of the Fathers as an alcoholic ex-cop working as an unlicensed private investigator in Hell's Kitchen. Originally published as paperbacks, the early novels are in many ways interchangeable; the second and third entries—In the Midst of Death (1976) and Time to Murder and Create (1977)—were written in the opposite order from their publication dates. 1982's 8 Million Ways to Die (filmed in 1986 by Hal Ashby, with unpopular results) breaks from that trend, concluding with Scudder introducing himself at an Alcoholics Anonymous meeting. The series was set to end on that note, but an idle promise <mask> had made to supply an editor friend with an original Scudder short resulted in "By the Dawn's Early Light", a story set during the character's drinking days, but told from the perspective of a recovering alcoholic. <mask> expanded on that with 1986's When the Sacred Ginmill Closes (named for a line in a song by folk singer Dave Van Ronk, a close friend), which proved not only one of the more literary entries, but also a favorite of the author and his fans. From then on, Scudder's circumstances rarely remain the same from one book to the next; 1990's A Ticket to the Boneyard, for example, reunites him with Elaine Mardell, a hooker from his days on the force, whom he marries several books later.Other fan favorites are 1991's taut, gruesome A Dance at the Slaughterhouse (winner of the Edgar Award for Best [mystery] Novel), and 1993's A Long Line of Dead Men, a tightly plotted puzzler featuring a rapidly dwindling fraternity known as the "Club of 31". A Walk Among the Tombstones, published in 1992, was made into a film, released in 2014, written and directed by Scott Frank, with Liam Neeson playing the lead role. The seventeenth entry, A Drop of the Hard Stuff was published in May 2011. It has been suggested that Scudder's struggle with alcoholism is in part autobiographical; while <mask> has repeatedly refused to discuss the subject, citing AA's own tradition of anonymity, in a column he wrote for Writer's Digest, <mask> wrote that when he created Scudder, "I let him hang out in the same saloon where I spent a great deal of my own time. I was drinking pretty heavily around that time, and I made him a pretty heavy drinker, too. I drank whiskey, sometimes mixing it with coffee. So did Scudder."Bernie Rhodenbarr

<mask>'s other major series, humorous and much lighter in tone, relates the misadventures of gentleman burglar Bernie Rhodenbarr. The series is rich in sophisticated, witty dialogue. Unlike Scudder, Rhodenbarr is ageless, remaining essentially the same from 1977's Burglars Can't Be Choosers, to the eleventh and most recent entry, 2013's The Burglar Who Counted the Spoons. The only significant advancements come in the third volume, The Burglar Who Liked to Quote Kipling (1979, winner of the first annual Nero Award) which sees Bernie having used the spoils from his previous caper to buy a bookstore, and introduces Carolyn Kaiser, his lesbian "soulmate" and partner in crime. The plots run very much to form: Bernie breaks into a residence (usually on Manhattan's Upper East Side) and, through a series of implausible events, becomes involved in a murder investigation—often as the prime suspect. Not even an eleven-year hiatus (between 1983's The Burglar Who Painted Like Mondrian and 1994's The Burglar Who Traded Ted Williams) would see that basic formula change. There is, however, a meta quality to the more recent entries: Bernie, the reluctant detective, is himself a bookseller and genre fan, and is apt to make references to Agatha Christie, E.W.Hornung (his cat is named "Raffles"), Dashiell Hammett, Raymond Chandler, Sue Grafton and John Sandford, among others. The Burglar Who Thought He Was Bogart (1995) exploits this to full effect: set during a Humphrey Bogart film festival, the story is itself inspired by many of the actor's most famous roles. The Burglar in the Library (1997) similarly imagines a meeting between Hammett and Chandler at a New England inn in the 1940s, casting a volume inscribed by Chandler to Hammett as its own Maltese Falcon. In The Burglar in the Rye, Bernie helps track down a writer clearly based on J.D. Salinger. The second novel, The Burglar in The Closet, was filmed in 1987 as Burglar, with Whoopi Goldberg as Bernie (or Bernice). Evan Michael Tanner

Besides Scudder and Rhodenbarr, <mask> has written eight novels about Evan Tanner, an adventurer and accidental revolutionary who, as a result of an injury sustained in the Korean War, cannot sleep.All but the last of these were published in the 1960s and early 1970s (beginning with 1966's The Thief Who Couldn't Sleep), while the most recent, 1998's Tanner on Ice, revived the character after nearly a thirty-year hiatus. Chip Harrison
Chip Harrison, running on the twin engines of lust and curiosity, originally appeared in two funny, non-mystery novels which revolved around seventeen-year-old Chip's obsessive quest to lose his virginity: No Score and Chip Harrison Scores Again. Realizing the series didn't have much of a future once Chip reached his goal, <mask> puts Chip to work as an assistant to Leo Haig, an admirer of sleuth Nero Wolfe who models himself after his hero (e.g., Wolfe raises tropical flowers, Haig raises tropical fish). They appeared in two subsequent, decidedly tongue-in-cheek mystery novels: Make Out With Murder and The Topless Tulip Caper, and a handful of short stories. Keller

Four episodic novels (Hit Man (1998), Hit List (2000), Hit Parade (2006) and Hit Me (2013)) as well as one full-length novel (Hit and Run (2008)) chronicle the life of Keller, a lonely, wistful hitman who originally appeared as a semi-regular feature in Playboy magazine in the 1990s. Most of the novels are fix-ups of related short stories; Hit and Run is the only Keller novel conceived of and written as a single story. In 2016, a new novella was published, Keller's Fedora, in which Keller is persuaded to come out of retirement for one last job.Keller's full name is John Paul Keller (a fact mentioned in Hit Man), although he is rarely called anything but Keller in the series. The stories are rarely action-oriented or focused on the details of his crimes, instead being character studies of Keller's personality and the people he meets (e.g., Keller's being hired to kill a major league baseball designated hitter but postponing the act and following the team to away games so the hitter can reach the career milestone of 400 home runs). Originally based in New York City, after a disastrous hit gone wrong he later relocates to New Orleans where he lives under the name "Nicholas Edwards" and marries, has a child and works in construction. Keller receives assignments via a contact named Dot, who is originally based in White Plains. His assignments usually take him to different cities, where he often envisions himself retiring from the business, daydreaming about settling there, before finishing off the assignment and returning, his fantasies forgotten as a passing dream. Keller's pastime is stamp collecting, to which he is nearly obsessively devoted. He collects non-U.S. issues, prior to 1940, with a particular interest in stamps from former colonies of the French Empire.Hit and Run was nominated for the CWA Gold Dagger at the 2009 Crime Thriller Awards. Other works
Small Town (2003), <mask>'s first non-series book in fifteen years, details a group of New Yorkers' varying responses to the terrorist attacks of September 11, 2001. <mask> has also written dozens of short stories over the years, and he is the only four-time winner of the Edgar Award for Best Short Story. The 2002 collection Enough Rope compiles stories, 84 in all, from earlier collections, such as Like a Lamb to Slaughter and Sometimes They Bite, along with new and previously uncollected stories. <mask> describes series character Martin H. Ehrengraf as a dapper little criminal defense lawyer whose clients all turn out to be innocent. Ehrengraf charges a mere $1 retainer fee and afterwards works on contingency; he gets paid a massive fee if and only if his clients are cleared of wrongdoing. When his clients are cleared, it's because Ehrengraf has committed misdeeds up to and including murder to exonerate his client and often frame another for the crimes.The first short story featuring Ehrengraf, "The Ehrengraf Defense," was published in Ellery Queen's Mystery Magazine in 1978. By 2003, twelve stories had been published and in 2012 <mask> completed an eleventh story, "The Ehrengraf Settlement." All eleven were collected and published in an eVolume, Ehrengraf For The Defense (2012). In addition to writing the scripts for a handful of television episodes over the years—including, in 2005, two episodes of the ESPN series Tilt—<mask> co-wrote the screenplay for My Blueberry Nights, a 2007 film directed by Wong Kar-wai and starring Norah Jones. These stories are collected in the 2002 anthology Enough Rope, and in the final Rhodenbarr book, The Burglar in Short Order. Evan Tanner novels
The Thief Who Couldn't Sleep (1966)
The Canceled Czech (1966)
Tanner's Twelve Swingers (1967)
The Scoreless Thai (also known as Two for Tanner; 1968)
Tanner's Tiger (1968)
Here Comes a Hero (also known as Tanner's Virgin; 1968)
Me Tanner, You Jane (1970)
Tanner on Ice (1998)

Chip Harrison novels/stories (as Chip Harrison)
No Score (1970)
Chip Harrison Scores Again (1971)
Make Out With Murder (a.k.a. The Five Little Rich Girls) (1974)
The Topless Tulip Caper (1975)
"As Dark As Christmas Gets" (1997), a Chip Harrison short story written specifically for customers of the Otto Penzler–owned Mysterious Bookshop; printed in booklet format for the 1997 holiday season, and collected in Christmas at The Mysterious Bookshop (Vanguard Press 2010, )
A collection of eighty-four short stories, Enough Rope (2002), contains two Chip Harrison stories.Keller novels
Hit Man (1998)
Hit List (2000)
Hit Parade (2006)
Hit and Run (2008)
Hit Me (2013)
Keller's Fedora (2016) (Novella)
A collection of eighty-four short stories, Enough Rope (2002), contains five Keller stories.

masks:
Lawrence Block
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Lawrence Block
Career Block
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Jill Block
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<mask> (, ; 1890–1942) was an early watercolor painter from Yangon and the first Burmese to travel abroad for studies in Western painting. Early history and training
<mask> lost his mother in early childhood and so his father sent him to Yangon High School as a boarding student. There he exhibited an interest in drawing, but he was temperamental and one day quarreled with a teacher and quit school. He then decided to travel to England to study art. The events which followed, attributed to the year 1906, have become a part of Burmese folklore. He allegedly went to Rangoon harbor to find a ship which would carry him to England and asked the captain of one ship there for a job as a seaman. While talking to the captain he drew his portrait, and the captain was so taken with the youth’s portrait of him and his adventuresome spirit that he agreed to take him on board as a seaman.<mask> <mask> <mask> was about 16 years old at that time. <mask> <mask> <mask> reached England and studied there for two or three years. It is not known what school he attended, but his main studies seemed to have been agriculture, as well as art and chemistry. There is some possibility that during his time in England he may also have had to work as a dishwasher to make ends meet. It seems not to have been an institution of higher learning for when he returned to Burma, about 1908 or shortly thereafter, he continued with his secondary education at St. Paul’s English High School in Rangoon for two years. Following his studies at St. Paul’s, he became an agricultural officer for the colonial government, which offered him the chance to tour the country, painting its scenes in his free time. Personality and further imbroglios
As a youth who had traveled to England in such a daring way, <mask> <mask> <mask> became famous in Burma, as a model to young Burmese youth who were so provincial and timid that they often feared leaving their villages.He became notorious in other respects. Although he developed a passion for Western-style painting, he had a great resentment of his colonial masters, especially British officers. In 1938, when a Burmese-Indian massacre or riot broke out in Mandalay, <mask> <mask> <mask> found himself a catalyst in the conflagration. The city of Mandalay was curfewed and two provocateurs, a Shwe Pe and Shwe Sin, were put on trial behind closed doors. Photographs of the accused were forbidden; however, <mask> Maung managed to view the court proceedings accompanying a Burmese reporter and memorized the faces of the accused and then sent their portraits to the newspapers where they were printed. According to Nyan Shein, “the massacre spread through the whole of Burma… Therefore the British had to curfew the whole country.”  These events are difficult to corroborate, but Cady in his A History of Modern Burma mentions anti-Indian riots occurring throughout Burma in 1938. Another notorious incident involving <mask> <mask> <mask> is a quarrel that he had with one of his superior British officers in the agricultural department, alleging punching the man and subsequently quitting his job as an agricultural officer for good.This event may have occurred prior to the incidents of the Indian-Burmese riots above, attributed to the year 1938, for in the following year, 1939, when the State School of Art and Music opened up, he became an instructor there. This was a prestigious position. The principal of the school was San Win, and to other painters of note, Ba Kyi and <mask> <mask> Mya, were teachers at the school. Works
<mask> <mask> <mask> is known to have owned a large collection of paintings, but whether these paintings were strictly his own works or included works which he had collected by other painters in Burma is not known. In any event, during World War II, his house burned down and his entire collection was lost. Not many works by <mask> <mask> <mask> have survived. Four of his watercolors are currently in the collection of the Pitt Rivers Museum, Oxford.A fifth painting appears on page 13 of Old Myanmar Paintings in the Collection of U Win (2006) by Hla Tin Htun, and it is said that the National Museum of Myanmar owns a painting or paintings by <mask> <mask> <mask> but if so, the work has not been on display in recent years. Influences and legacy
Although <mask> <mask> <mask> is said to have studied art in England, his greater influences in painting may actually have come through exposure to British painters whom he personally encountered in Burma or whose works he saw there. In particular, one British painter who may have influenced him is B.H. Wiles, who published reproductions of his paintings of Burma in India  and England. B.H. Wiles work has appeared in Christie’s auctions in recent years but with little biographical information about him beyond the fact that he was a 19th and 20th century painter. One account of <mask> <mask> <mask>’s life records that he was a companion painter of B.H.Wiles when Wiles painted in Burma. This account also maintains that <mask> <mask> <mask>’s paintings were marketed in Germany. <mask> <mask> <mask>’s work also shows irrefutable influence of Robert Talbot Kelly, the British painter who traveled throughout Burma in the early 1900s, producing a large tome of his collected scenes of Burma in his book Burma, Painted and Described (1905). One of the four paintings in the Pitt Rivers Museum collection done by <mask> Maiung <mask> is an exact replica of a painting entitled Express Steamer Passing Sagaing on page 146 of Talbot Kelly’s book. This is not to suggest by any means that <mask> <mask> <mask> had a habit of copying works from other painters; rather, as many painters of both the Traditional and Western Schools did in Burma in the early days, he copied the works of painters he admired in order to learn. <mask> <mask> <mask> is said to have influenced and been influenced by the early artist of the Traditional School, Saya Aye. After returning from England, <mask> <mask> <mask> is said to have given Saya Aye instruction in Western painting in exchange for instruction in Traditional art.However, evidence of Traditional techniques hardly exists in <mask> <mask> <mask>’s work, and while <mask> <mask> <mask> may have left an influence on Saya Aye in his Western-style works, it is clear from a painting dated 1909 by Saya Aye, entitled Burmese Gentleman and Wife, now in the collection of the Fukuoka Asian Art Museum, that Saya Aye must have already made large steps on his own to learn Western techniques before meeting <mask> <mask> <mask>. <mask> <mask> <mask>’s influence in Burma was largely as a watercolor painter who traveled about Burma capturing its scenes in the plein air style. The plein air mode of painting later became very common among Upper Burma painters such as Saya Saung and Ba Thet in his early works. Death
In his last years, <mask> <mask> <mask> acquired heart disease. He died in a small village in Upper Burma. His son, Kin <mask> (Yangon)—not to be confused with Kin <mask> (Bank)—also became a well-known painter in Burma. Museum Collections
 Pitt Rivers Museum, Oxford

See also
 Saya Aye (painter)
 Robert Talbot Kelly

Notes

1890 births
1942 deaths
Burmese artists
People from Yangon
20th-century Burmese painters
Burmese people of World War II
Deaths from heart disease

masks:
Maung Maung Gyi
Maung Maung Gyi
Maung
Maung
Gyi
Maung
Maung
Gyi
Maung
Maung
Gyi
Maung
Maung
Gyi
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Gyi
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Gyi
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