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<mask>, USN (27 February 1885 – 27 February 1928), nicknamed "Spuds", was the first United States Navy officer designated as an aviator ("Naval Aviator No. 1"). Ellyson served in the experimental development of aviation in the years before and after World War I. He also spent several years before the war as part of the Navy's new submarine service. A recipient of the Navy Cross for his antisubmarine service in World War I, <mask> died in 1928 when his aircraft crashed over the Chesapeake Bay. Early life and pre-aviation naval career
Born in Richmond, Virginia, <mask> entered the United States Naval Academy in 1901 and graduated with the class of 1905. During the five years following his graduation, he served on USS Texas and ; as Watch and Division Officer of USS Pennsylvania and later USS Colorado; and on USS West Virginia, USS Rainbow, and USS Shark on the Asiatic Station.After his return to the United States in April 1910, he commanded the USS Tarantula until November of that year, and then had duty in connection with fitting out the submarine USS Seal at Newport News Shipbuilding and Drydock Company. He commanded her briefly after her commissioning on 2 December 1910. Naval Aviator Number One

In December 1910, <mask> was ordered to North Island, San Diego, California for instruction in aviation under <mask>s. While at an Aero Club show on 28 January 1911 near the flight school, Ellyson took off in a Curtiss "grass cutter" plane to become the first Naval aviator. With a blocked throttle, this ground plane was not supposed to fly, and Ellyson was not proficient enough to fly. He slewed off left, cracking up the plane somewhat by making a wing-first landing. However, Ellyson was not injured and from then on he was considered to have made his first flight on this date.He also cooperated with Curtiss in the design of a pontoon for aircraft, and after Curtiss' first flight on 27 January 1911, Ellyson went up with Curtiss in February to become the first passenger to go aloft in a floatplane. Later that month, he participated in experiments demonstrating the potential use of floatplanes from ships, when the aircraft was hoisted on board  and subsequently lowered to the water for its return flight to North Island. LT <mask> became first aviator in history to qualify as a pilot according to Federation Aeronautique Internationale (FAI) standards in a flight over water. In the presence of a committee of the Aero Club of America, he was required to fly five figure eights around two flags buoyed 1500 feet apart and land within 150 feet of an established mark. This course had to be completed twice. When Ellyson qualified, he landed directly alongside his mark, a white flag buoyed by a bottle. His second landing was within ten feet of his first.The test also required the prospective aviator to climb to a minimum altitude of 150 ft (officially 50 meters). Ellyson made this twice on his test. On September 7, 1911, LT <mask>, in the Navy model A-1 Triad, slid down 150ft on a wire cable at Hammondsport, New York from a platform 25 ft high, and was safely launched out over Keuka Lake. From the time Ellyson began instruction in aviation until 29 April 1913, he devoted all of his time to active flying and experimental work in aviation. This included the establishment of Naval Aviation Camps at Annapolis in September 1911 when, with then-Lieutenant John H. Towers, he flew an aircraft from Annapolis to Milford Haven, Virginia, a nonstop distance record for float planes. World War I service
In 1917, he had duty at the Naval Academy and with the midshipmen on cruise on USS Wyoming and . On 14 February 1918, he was detached for duty at the Submarine Chaser Base, New London, Connecticut, and in June arrived in London for duty with a submarine chaser squadron at U.S.Naval Base 27 at Plymouth. <mask> was awarded the Navy Cross for distinguished service in World War I for his development of successful tactics for the submarine chaser squadron. Postwar service and death
Following the Armistice in 1918, he remained in the European Area, commanding Nucleus Crew 14 (zeppelin) from March to May 1919. Upon his return to the United States, he assisted in fitting out the destroyer USS J. Fred Talbott at William Cramp and Sons, and served on that vessel as commanding officer from the time of her commissioning in June 1919 until July 1920. During the next five months, he commanded the USS Little and USS Brooks. On 10 January 1921, he was ordered to Hampton Roads, Virginia, to serve for eight months as executive officer of the Naval Air Station, Naval Operating Base. The Bureau of Aeronautics was established in the Navy Department on 1 September 1921, and on 21 October, Commander <mask> became head of the plans division of that bureau.He remained in that assignment until December 1922, when he became the aviation member of the U.S. Naval Mission to Brazil, cooperating in the reorganization of the Brazilian Navy. He returned to the Bureau of Aeronautics in May 1925. On 20 July 1925, he assumed command of Torpedo Squadron 1 and from March to June 1926 was executive officer of USS Wright, a seaplane tender. On 23 June 1926, he was ordered to duty in connection with the fitting out of USS Lexington, the Navy's second aircraft carrier, and was on board when she was placed in commission. Commander <mask> was killed on 27 February 1928, his 43rd birthday, in the crash of a Loening OL-7  aircraft in the lower Chesapeake Bay while on a night flight from Norfolk, Virginia, to Annapolis, Maryland. His body washed ashore and was recovered in April 1928.He was buried in the Naval Academy Cemetery, in Annapolis. Legacy
In 1941, the destroyer USS <mask> was named in his honor. The vessel was launched on 25 July 1941 by the Federal Shipbuilding and Dry Dock Company in Kearny, New Jersey, and sponsored by the commander's daughter, Miss <mask>. The ship was commissioned on 28 November 1941 with Lieutenant Commander J.B. Rooney in command. In 1961, <mask> was designated the recipient of the Gray Eagle Award for the period 1911 to 1928, when he was the senior active Naval Aviator. In 1964, <mask> was enshrined in the National Aviation Hall of Fame in Dayton, Ohio. On 7 October 2019, the United States Naval Academy in Annapolis, Maryland dedicated an airpark complete with an F-14A, EA-6B, A-4A, and F-4J as Ellyson Park.<mask> is buried only a short distance away. References

<mask>, Roy et al. "PART 1. A Few Pioneers 1898-1916." Chapter in United States Naval Aviation 1910-1995. 4th edition. Washington, D.C.: Government Printing Office, 1997.External links
Collections of <mask>'s papers
Register of <mask>'s papers at the Library of Congress
Papers of <mask><mask>, Operational Archives Branch, Naval Historical Center, Washington, D.C.
Californians and the Military: <mask> <mask>, Commander, U.S.N. : "Submariner" and "Naval Aviator Number One" - from the California Military Museum
USS Ellyson (DD-454) - Dictionary of American Fighting Ships entry, from the Naval Historical Center
<mask> biography from the First Flight Society

1885 births
1928 deaths
United States Navy personnel of World War I
Members of the Early Birds of Aviation
United States Naval Aviators
Recipients of the Navy Cross (United States)
Military personnel from Richmond, Virginia
Submariners
United States Naval Academy alumni
United States Navy officers
Burials at the United States Naval Academy Cemetery
American aviation record holders

masks:
Theodore Gordon Ellyson
Ellyson
Ellyson
Ellyson
Glenn Curtis
Ellyson
Ellyson
Ellyson
Ellyson
Ellyson
Ellyson
Gordon Ellyson
Ellyson
Ellyson
Ellyson
Grossnick
Ellyson
Ellyson
Theodore G
. Ellyson
Theodore Gordon
Ellyson
Ellyson


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<mask> (1766–1832) was an English particular Baptist and a life-long minister of St. Mary's Baptist Church in Norwich. <mask> was born at Gateshead-on-Tyne, County Durham, on 17 January 1766. His father, <mask> (3 October 1737 – 18 February 1822) was a shoemaker and Baptist preacher at Newcastle-on-Tyne, who was ordained on 1 May 1771 as minister of a Baptist congregation at Burton-Bishop, East Riding of Yorkshire, where he remained till July 1799, when he retired to Norwich. <mask> was his eldest son by his second wife, Elizabeth (d. 25 January 1810, aged 72), second daughter of <mask> of Satley. After four years' schooling, <mask> was taken on trial as apprentice to watch- and clock-making at Hull in 1779, but in March 1781 became a clerk in the white-lead works at Elswick, Northumberland of Walker Fishwick & Co. On 20 April 1783 he was baptised by his father at Burton-Bishop, and considered entering the ministry. He made the acquaintance of Robert Hall, and had thoughts of joining him at the University of Aberdeen, but on 20 August 1784 he entered Bristol Baptist Academy, under Caleb Evans. At Bristol, <mask> developed friendships with James Hinton (1761–1823), Anthony Robinson (1762–1827, his roommate), and Samuel Pearce.On leaving the academy, <mask> ministered for some months (from May 1788) at Fairford, Gloucestershire. He received an invitation to Norwich, because of a business connection between Richard Fishwick who worked at his old firm, and Thomas Hawkins, both Baptists, Hawkins belonging to the congregation at St. Mary's Chapel, Norwich. On 27 March 1789 he settled in Norwich, and was ordained on 20 May 1790. <mask> was famed for his preaching, which was noticed by Edward Irving. On the liberal side in his politics, though a moderate, he did not bring them into his public discourses. William Wilkin Wilkin (1762–1799) of his congregation was a personal friend, as well as a radical. When Wilkin died in 1799, <mask> brought up and educated his son Simon Wilkin.From 1790 <mask> was a member of the Norwich Speculative Society, entering the intellectual life of the city, of which William Taylor was the effective leader. He defended Christianity at the Tusculan School, another debating club, in 1794, where he was strongly opposed by Charles Marsh. In 1804 <mask> was invited to become head of the Northern Baptist Academy, then being set up in Bradford, but he preferred pastoral work. His old chapel was replaced in 1811 by a new structure on the same site. In a controversy with Robert Hall, which began in 1816, <mask> took the side of close communion, requiring adult baptism a condition of participation in the Lord's Supper. He made mission journeys to Scotland in 1818 and 1822. In later life <mask> devoted much time to Hebrew and rabbinical studies.He died unmarried on 1 September 1832, and was buried on 7 September in the vestibule of St. Mary's Chapel. <mask> Gurney spoke at his funeral, where the sermon was preached by John Alexander, minister of Prince's Street congregational church. Works
A list of 20 of Kinghorn's publications was given by Martin Hood Wilkin, including:

Address to a friend, who intends entering into church communion. Norwich, 1803 (1st ed. ), 1813 (2nd ed.). An Address to a Friend, on Church Communion: With An Appendix, Containing a Brief Statement of the Sentiments of the Baptists on the Ordinance of Baptism. Norwich, 1824 (3rd ed.).Advice and Encouragement to Young Ministers. Two Sermons addressed principally to the students of the two Baptist academies at Stepheny and at Bristol. The First Preached June 23, 1814, at the Rev. Dr. Rippon’s Meeting, Carter-lane, Southwark; The Second, August 3, 1814, at the Rev. Dr. Ryland’s, Broad Mead, Bristol. Norwich, 1814. Arguments Against the Practice of Mixed Communion, and in Support of Communion on the Plan of the Apostolic Church; With Preliminary Observations on Rev.R. Hall’s Reasons for Christian, in Opposition to Party Communion. London, 1827. Arguments, Chiefly from Scripture, Against the Roman Catholic Doctrine. In a Dialogue. Norwich, [1804]. The Arguments in Support of Infant Baptism, from the Covenant of Circumcision, Examined, and Shewn to Be Invalid. London, [1823].Baptism, a Term of Communion at the Lord’s Supper. 1st ed., Norwich, [1816]; 2nd ed., Norwich, 1816. A Brief Statement of the Sentiments of the Baptists on the Ordinance of Baptism. Norwich; London, 1824. A Defence of “Baptism a Term of Communion.” In Answer to the Rev. Robert Hall’s Reply. Norwich, 1820.A Defence of Infant Baptism, Its Best Confutation: Being A Reply to Mr. Peter Edwards’s Candid Reasons for Renouncing the Principles of Anti-paedo-baptism, on his own ground. Norwich, 1795. Fifth Report of the Committee of the Norfolk and Norwich Auxiliary Bible Society. September 1, 1816. Norwich, 1816. The Miracles of Jesus not Performed by the Power of the Shem-Hamphorash. The Substance of a Sermon Preached at the Jews’ Chapel, August 18, 1811, Being the Seventh Demonstration Sermon… With an Appendix on Jewish Traditions and the Perpetuity of the Law of Moses.London: The London Society for Promoting Christianity Among the Jews, 1812. Practical Cautions to Students and Young Ministers. The Substance of a Sermon Preached at Bradford, in the County of York; At the Annual Meeting of the Northern Baptist Education Society, August 27, 1817. Norwich, 1817. Public Worship Considered and Enforced. Norwich, 1800. Remarks on a “Country Clergyman’s Attempt to Explain the Nature of the Visible Church, the Divine Commission of the Clergy, &c.” Being a Defence of Dissenters in General, and of Baptists in Particular; on New Testament Principles.Norwich, 1829. "The Separate State [1831]". In The British Preacher, Under the Sanction of the Ministers Whose Discourses Appear in Its Pages, I: 217–230. London: Frederick Westley and A. H. Davis, 1831. Scriptural Arguments for the Divinity of Christ, Addressed to the Serious Professors of Christianity. Norwich, 1813. Second Edition.With an Appendix, Containing Observations on the Rev. I. Perry’s Letters to the Author. Norwich, [1814]. Serious Considerations Addressed to the House of Israel. The Substance of a Sermon, Delivered at the Jews’ Chapel, December 16, 1810. London: The London Society for Promoting Christianity Among the Jews, 1811. Sketch of the Life of the Rev.Isaac Slee; With an Extract from His Farewell Sermon, on His Resigning the Perpetual Curacy of Plumpton, in Cumberland, in Consequence of Becoming a Baptist. London: Wightman and Cramp, 1827. James Robertson. Clavis Pentateuchi: Sive Analysis Omnium Vocum Hebraicarum suo ordine in Pentateucho Moseos occurrentium, una cum versione Latina et Anglica; Notis Criticis et Philologicis Adjectis, in quibus, ex lingua Arabica, Judæorum Moribus, et Doctorum Itinerariis, plurium locorum S. S. Sensus Eruitur, novaque versione illustrator. In usum Juventutis Academicæ Edinburgenæ. Cui Præmittuntur Dissertationes Duæ; I. De antiquitate linguæ Arabicæ, ejusque conventientia cu, lingua Hebræa.II. De genuina punctorum vocalium antiquitate. Edited by <mask>. Norwich, 1824. <mask> also edited the 9th (1814) and 10th (1827) editions of John Ash and Caleb Evans's Collection of Hymns (1769). A catalogue of his library was published at Norwich, 1833. References
 <mask> Papers.Angus Library. Regent's Park College, Oxford, England;
 Timothy D. Whelan, transcribed and edited. Baptist Autographs in the John Rylands University Library of Manchester 1741–1845. Mercer University Press, 2009. Terry Wolever, ed. The Life and Works of <mask>. 3 vols.Particular Baptist Press, 1995, 2005, 2010. C. B. Jewson. The Baptists in Norfolk. Carey Kingsgate, 1957. C. B. Jewson. “<mask> and His Friends.” Baptist Quarterly 8.8 (1937): 440–443. Baiyu Andrew Song, edited.Public Worship Considered and Enforced. Heserd and Emet, 2020. Baiyu Andrew Song. “<mask> (1737–1822).” The British Particular Baptists: Volume V More Biographical Essays of Notable British Particular Baptists 5: 153–174. Baiyu Andrew Song. “‘When They Know Only or Chiefly Its Language, Not Its Spirit’: <mask> (1766–1832) and Socinianism.” Puritan Reformed Journal 12.2 (2020): 81–99. Notes

Attribution

1766 births
1832 deaths
English Baptist ministers
People from Gateshead
18th-century Christian clergy

masks:
Joseph Kinghorn
Life Kinghorn
David Kinghorn
Joseph
Joseph Jopling
Kinghorn
Kinghorn
Kinghorn
Kinghorn
Kinghorn
Kinghorn
Kinghorn
Kinghorn
Kinghorn
Joseph John
Joseph Kinghorn
Kinghorn
Kinghorn
Joseph Kinghorn
Joseph Kinghorn
David Kinghorn
Joseph Kinghorn


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<mask> (born March 1, 1946) is an American composer and multi-instrumentalist specializing in woodwind instruments. He performs in the genres of contemporary music, jazz, free jazz, and free improvisation. Career

As a composer, <mask> fuses the rich heritage of jazz, contemporary classical music and world music. Also a bandleader, he has presented his music to concert audiences in Europe, Canada, Mexico, Japan, Australia, New Zealand and the United States in ensembles varying dramatically in size and instrumentation. <mask> Large Ensemble to perform his compositions for chamber orchestra and jazz ensembles. A multi-woodwind performer, <mask>'s recordings have been consistently picked by critics and readers of music journals for their yearly "ten best" lists.In 1990, he was the co-winner of the JazzTimes TDWR award for Bass Saxophone. In 1998, he ranked 1st in the Cadence Magazine Writers & Readers Poll and has continually placed in the Down Beat Critics Poll for Baritone & Soprano Saxophone. In 1999, he won the LA Weekly award for "Best Jazz Musician". Jazziz magazine has also named him as one of the 100 people who have influenced the course of jazz in the 21st century. In 2006, the Jazz Journalists Association honored him with a Lifetime Achievement Award. In 2013, he won the Down Beat Critics Poll in the "New Star" category for baritone saxophone. <mask> has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joëlle Léandre, Wadada Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George E. Lewis, Barre Phillips, the Rova Saxophone Quartet, Patti Smith, Harry Gibson, Eugene Chadbourne, Kevin Ayers, Peter Kowald, John Bergamo, George Gruntz, Misha Mengelberg, Han Bennink, Lydia Lunch, and the Los Angeles Philharmonic Orchestra.<mask> founded the jazz record label Nine Winds in 1977. Ensembles
<mask> has a formed a number of ensembles that showcase both his style of composition and improvisation. These groups range from the his Large Ensemble to a variety of mixed quintets, saxophone quartets, duos, sextets and arrangements for jazz and classical orchestras. Most recently, <mask> has performed and toured with his sextet which features some of the new voices in the Los Angeles free-improv scene. The group, composed of Gavin Templeton (alto sax), Daniel Rosenboom (trumpet), Alexander Noice (guitar), Andrew Lessman (drums) and Jon Armstrong (bass), has given performances at many of the premiere U.S. new music venues and festivals including Angel City Jazz Festival at the John Anson Ford Amphitheatre, the Outsound New Music Summit in San Francisco, and The Stone in New York. Discography
 1977 <mask> Golia. Spirits in Fellowship (Nine Winds)
 1978 Anthony Braxton.Creative Orchestra (Koln)1978  (hatART)
 1979 Vinny Golia. Openhearted  (Nine Winds)
 1979 Vinny Golia Wind Quartet. Live at the Century City Playhouse - Los Angeles, 1979 (Dark Tree)
 1979 The Vinny Golia Trio. ...In the Right Order... (Nine Winds)
1979 Tim Berne. The Five-Year Plan (Empire Productions)
 1980 Vinny Golia. Solo (Nine Winds)
1980 Tim Berne. 7X  (Empire Productions)
1980 Walter Thompson.Stardate  (Dane Records)
 1980 Roberto Miguel Miranda. The Creator's Musician (Nimbus West Records)
 1981 The Vinny Golia Trio. Slice of Life (Nine Winds)
 1981 The Vinny Golia Quintet. The Gift of Fury (Nine Winds)
 1981 Roberto Miguel Miranda. Raphael (Nimbus West Records)
 1982 The Vinny Golia Large Ensemble. Compositions for Large Ensemble (Nine Winds)
 1984 Wayne Peet/ Vinny Golia Duo. No Reverse (Nine Winds Records)
 1984 John Rapson.Deeba Dah-Bwee (Nine Winds)
 1984 Michael Vlatkovich. 9113  (Thankyou Records)
 1985 The Vinny Golia Quintet. Goin' Ahead  (Nine Winds)
 1985 Michael Vlatkovich/Charles Britt. Transvalue Book I  (Thankyou Records)
 1986 The Vinny Golia Large Ensemble. Facts of Their Own Lives   (Nine Winds)
1986 Richard Grossman. One...Two...Three...Four...  (Nine Winds)
1987 T.S.O.L. Thoughts of Yesterday (Posh Boy)
1988 The Steve Adams/Ken Filiano Quartet.Anacrusis (Nine Winds)
 1989 The Vinny Golia Quintet. Out for Blood (Nine Winds)
 1989 Vinny Golia Trio. Puff of Smoke (https://www.discogs.com/label/110484-Empire-Productions, Italy)
 1989 The George Gruntz Concert Jazz Band. First Prize (Enja)
1990 John Rapson. Bing  (Sound Aspects Records)
 1990 <mask> Golia, The Chamber Trio. Worldwide & Portable  (Nine Winds Records)
 1990 Bertram Turetzky/<mask> Golia. Intersections (Nine Winds Records)
 1990 The Vinny Golia Large Ensemble.Pilgrimage to Obscurity (Nine Winds)
 1991 Richard Grossman and Friends. In The Air (Nine Winds Records)
1991 Various, Motion Picture EP. Blood and Concrete (A Love Story)   (I.R.S. Records)
1992 Brad Dutz. Camels  (Nine Winds)
 1993 The Vinny Golia Large Ensemble. Decennium Dans Axlan (Nine Winds)
 1993 The Vinny Golia Quintet. Against the Grain (Nine Winds)
1993 Mark Harvey & Aardvark Jazz Orchestra.The Aardvark Steps Out  (Nine Winds)
1993 Bertram Turetsky. Compositions and Improvisations  (Nine Winds)
 1994 The Vinny Golia Large Ensemble. Commemoration (Nine Winds)
 1994 The Vinny Golia Quintet. Regards From Norma Desmond (Fresh Sound)
1994 Rob Blakeslee Quintet. Long Narrows (Nine Winds)
1994 Rich Halley. Umatilla Variations  (Nine Winds)
 1995 The Vinny Golia Large Ensemble. Tutto Contare (Nine Winds)
 1995 Vinny Golia/ Joelle Leadre/ Ken Filiano.Haunting the Spirits Inside Them... (Music & Arts)
 1995 Vinny Golia Quintet. Razor  (Nine Winds)
1995 Figure 8. Pipe Dreams  (Black Saint)
1995 Kaoru. Welcome to Our Breakfast  (Nine Winds)
 1996 <mask> <mask>, Bertram Turetzky. 11 Reasons to Begin  (Music & Arts Programs of America Inc.)
 1996 The Vinny Golia Quintet. Nation of Laws (Nine Winds)
 1996 <mask> <mask> & Ken Filiano. The Art of Negotiation (CIMP)
 1996 John Carter, Andrea Centazzo, <mask> <mask>, Gregg Goodman.USA Concerts West (New Tone Records)
1996 Gregg Bendian Project. Counterparts  (CIMP)
 1997 Vinny Golia, George Lewis, Bertram Turetzky. Triangulation  (Nine Winds)
 1997 The Vinny Golia Large Ensemble. Portland, 1996  (Nine Winds)
1997 The Aardvark Jazz Orchestra. An Aardvark Christmas  (Nine Winds)
1997 Wadada Leo Smith. Prataksis  (Nine Winds)
1997 Aardvark Jazz Orchestra. Psalms and Elegies  (Leo Lab)
1997 William Parker & The Little Huey Creative Music Orchestra.Sunrise in The Tone World  (AUM Fidelity)
 1997 The Vinny Golia Quintet. Dante No Longer Repents  (Music & Arts Programs of America Inc.)
 1998 Steuart Liebig / Vinny Golia / Billy Mintz. No Train (Cadence Jazz)
 1998 Susan Allen, <mask> Golia. Duets (Nine Winds)
 1998 <mask> Golia. Lineage (Nine Winds)
 1998 <mask> <mask>, George Cremaschi, Garth Powell. Win This Time (Limited Sedition)
 1998 Paul Smoker-Vinny Golia Quartet. Halloween, The Sequel (Nine Winds Records)
 1998 Ed Harkins, <mask> <mask>, Bertram Turetzky.Glossarium  (Nine Winds Records)
 1998 Steve Adams / <mask> <mask>. Circular Logic  (Nine Winds Records)
1998 The Rob Blakeslee Quartet. Spirit of The Times  (Nine Winds)
 1999 Jeff Kaiser Featuring <mask> <mask>. Ganz Andere (pfMENTUM)
 1999 Barre Phillips / Bertram Turetzky / <mask> Golia. Trignition (Nine Winds Records)
1999 The NOW Orchestra. Wowow (Spool)
 1999 The Motor Totemist Guild. City of Mirrors (Cuneiform Records)
1999 Brad Dutz.Heat The Grill Cook Loin  (Household Ink Records)
1999 Tim Berne. The Empire Box  (Screwgun Records)
 2000 The Vinny Golia Large Ensemble. The Other Bridge (Oakland 1999)  (Nine Winds)
 2001 Steuart Liebig / <mask> Golia / Billy Mintz.

masks:
Vinny Golia
Golia
Golianylia
Golia
Golia
Golia
Golia
Golia
Vinny
Vinny
Vinny
Vinny
Golia
Vinny
Golia
Vinny
Golia
Vinny
Vinny
Vinny
Golia
Vinny
Golia
Vinny
Golia
Vinny
Golia
Vinny
Vinny


text_chunks:
 Antipodes (Cadence Jazz Records)
 2001 Vinny Golia. Clarinet (Meniscus)
 2001 Mark Trayle / <mask> Golia. Music for Electronics & Woodwinds (Nine Winds)
2001 Alex Cline Ensemble. The Constant Flame (Cryptogramophone)
2001 John Rapson.Water And Blood (The Billy Higgins Improvisations)   (Nine Winds)
 2003 <mask> Golia. Feeding Frenzy - Music For Woodwinds & String Quartet (Nine Winds)
 2003 <mask> Golia. Music for Like Instruments: The Eb Saxophones (Nine Winds)
 2004 The Jeff Kaiser Ockodektet. 13 Themes for a Triskaidekaphobic (pfMENTUM, 2003)
 2004 Liebig / Vatcher / Golia. On The Cusp Of Fire And Water (Red Toucan Records)
 2004 Lydia Lunch. Smoke In The Shadows (Breakin Beats)
 2004 <mask> Golia. Music For Like Instruments; The Flutes (Nine Winds Records)
 2004 Nels Cline / <mask> Golia.The Entire Time (Nine Winds Records)
 2004 The Vinny Golia Quintet. One, Three, Two (Jazz Halo, Belgium)
 2004 Peter A. Schmid / <mask> Golia. Birdology (Leo)
 2004 <mask> <mask>. A Gift for the Unusual: Music for Contrabass Saxophone (Nine Winds)
 2004 Various. Morton Feldman Jazz Tributes (Villars Edition, 2004)
2004 The Jeff Kaiser Ockodektet with The Ojai Camerata/The Kaiser/Diaz-Infante Sextet. The Alchemical Mass/Suite Solutio  (pfMENTUM)
 2005 <mask> <mask>. Music for Like Instruments: The Flutes (Nine Winds)
 2005 Bert Turetzky.Tributes (Nine Winds)
 2005 <mask> <mask>. Music for Like Instruments: The Clarinets  (Nine Winds)
2005 Vinny Golia Quartet. Sfumato (Clean Feed)
2005 Adam Lane Trio Feat. <mask> <mask> and Vijay Anderson. Zero Degree Music  (CIMP)
 2006 Tim Hodgkinson. Sketch of Now  (Mode)
2006 Various. The New US Concerts  (Ictus)
2007 Michael Vlatkovich/Charles Britt.Transvalue Book III (Thankyou Records)
 2007 Adam Lane Quartet. Buffalo (Cadence Jazz Records)
 2007 Various. Healing Force: The Songs of Albert Ayler  (Cuneiform)
 2008 <mask> Golia. Music For Like Instruments:The Bb Saxophones (Nine Winds)
 2009 Mooey Moobau. All Murmur of Our Mothers’ Waters and Live Bloody Live (Vosotros)
 2009 Peter Kowald & <mask> Golia. Mythology (Kadima Collective)
 2009 Bertram Turetzky, <mask> <mask>. The San Diego Session  (Kadima Collective)
 2009 Anthony Braxton.Creative Orchestra (Koln) 1978  (hatOLOGY)
 2009 Bobby Bradford Extet. Midnight Pacific Airwaves  (Entropy Stereo)
 2009 <mask> Golia / Damon Smith / Weasel Walter. Großes Messer   (ugEXPLODE)
 2010 Nels Cline. Dirty Baby  (Cryptogramaphone)
 2010 <mask> <mask>, Mark Dresser. Live At Lotus  (Kadima Collective e)
 2010 Brad Dutz – <mask> Golia. Duets
 2010 Bert Turetzky / George Lewis / <mask> Golia. Triangulation II  (Kadima Collective)
 2010 The Weasel Walter Septet.Invasion  (ug Explode)
 2011 The Daniel Rosenboom Septet. Fallen Angeles (Nine Winds Records)
 2011 Estamos Ensemble. Jimpani Kustakwa Ka Jankwariteecher   (Edgetone Records)
 2011 The Vinny Golia Sextet. Abstractions and Retrocausalities (Nine Winds Records)
 2011 The Vinny Golia Octet. Low and Inside; (Close Call Anyway…)  (Nine Winds Records)
 2011 Rent Romus’ Lords Of Outland with <mask> Golia. Edge Of Dark   (Edgetone Records)
 2011 Vinny Golia. Lethologica (Experimental Music Yearbook)
 2011 Vinny Golia Quartet.Take Your Time  (Relative Pitch)
2011 Anthony Braxton. Orchestra (Paris) 1978 (Braxton Bootleg)
 2012 <mask> <mask>, Marco Eneidi, Lisa Mezzacappa, Vijay Anderson. Hell-Bent In The Pacific (NoBusiness Records)
 2012 Scott Robinson, <mask> <mask>, J.D. Parran, Warren Smith. Creative Music for 3 Bass Saxophones (ScienSonic)
 2012 Vinny Golia Large Ensemble. Overview; 1996-2006  (NoBusiness Records)
2012 Ross Hammond Quartet. Adored (Prescott Recordings)
 2012 <mask> Golia.The Ethnic Project (Kadima Collective Recordings)
 2013 Ross Hammond Quartet. Cathedrals (Prescott Recordings)
 2013 Alex Cline. For People In Sorrow (Cryptogramophone)
 2013 <mask> <mask> & Urs Leimgruber. Empiricism In The West  (Relative Pitch Records)
 2014 Ross Hammond w/ Catherine Sikora, <mask> <mask>, Clifford Childers, Kerry Kashiwagi, Dax Compise. Humanity Suite  (LP, Prescott Recordings)
 2014 Weasel Walter, Various. Improvised Music Sampler 2014 (Weasel Walter)
 2015 Brzytwa/ Golia. Brzytwa / Golia (LP, Setola Di Maiale)
 2015 Vinny Golia.At Gold Lion Arts
 2016 Matty Harris. Double Septet (pfMENTUM)
 2016 <mask> <mask> And Ken Filiano. Elongation (pfMENTUM)
 2016 <mask> <mask>, Oliver Lake, Ross Hammond and Adam Lane. Live At The Downtown Music Gallery NYC
 2016 Ross Hammond and <mask> <mask>. Ross Hammond And <mask> Golia  (Prescott Recordings)
2016 Ross Hammond Quartet. Live at The Blue Whale  (Ross Hammond)
 2017 Lisa Mezzacappa, <mask> <mask>. Glorious Ravage (New World Records)
 2017 Estamos Ensemble.suube tube (Edgetone Records)
 2017 <mask> Golia. Intercommunications (Music For Woodwinds And Percussion)  (pfMENTUM, Nine Winds Records)
 2017 <mask> Golia. Music For Woodwinds, Strings, Piano, And Percussion  (pfMENTUM, Nine Winds Records)
 2017 <mask> Golia. Syncquistic Linear Expositions And Their Geopolitical Outcomes (...We Are Still Here...)  (pfMENTUM, Nine Winds Records)
 2017 Nathan Hubbard, <mask> Golia. Hunter's Moon (Castor & Pollux Music)
 2017 John Tchicai, <mask> <mask>, Bill Smith, Clyde Reed, Gregg Simpson. Du Maurier, Vancouver Jazz Festival, 1988  (Condition West Recordings)
 2017 Vinny Golia Wind Quartet. Live at the Century City Playhouse - Los Angeles, 1979 (Dark Tree)
 2018 Burrows, Campbell, Golia, Reed.Tales from The Zoo (Third Rail Music)
 2018 <mask> <mask>, Steph Richards, Bert Turetzky. Trio Music (pfMENTUM)
 2018 The Vinny Golia Sextet.Trajectory  (2 CD set, Ninewinds/Orenda Records)
 2018 David Mott, Vinny Golia. Music for 2 Baritone Saxophones: "Have You Heard? (Pet Mantis Records)
 2018 <mask> <mask>, Henry Kaiser, Ra Kalam Bob Moses, Damon Smith, Weasel Walther. Astral Plane Crash (Balance Point Acoustics)
 2018 Steve Adams/Vinny Golia Duo. The Philosophy of Air  (pFmentum)
 2018 Vinny Golia/Gianni Mimmo. Explicit  (Ninewinds/Amirani Records)
 2018 The Vinny Golia New Music Orchestra.Live at Redcat Los Angeles  (DVD, Ninewinds/pFmentum)
 2019 The Vinny Golia Quartet. Left, Outside...! (Nine Winds)
 2019 Dan Clucas/Vinny Golia/Stuart Liebig/Alex Cline. Boojum Quartet (SR)
 2019 Shiroishi / Golia / Fujioka / Cline. Borasisi (Astral Spirits)
 2020 <mask> <mask>, John Hanrahan, Henry Kaiser, Wayne Peet, Mike Watt.A Love Supreme Electric: A Love Supreme and Meditations (Cuneiform Records)
 2021 Netty Ensemble.The Netty Sessions (Casa Berenice Recordings)
 2021 Vinny Golia.Even to this day…Movement One: Inoculations Music for Orchestra and Soloists

With Anthony Braxton
 Creative Orchestra (Köln) 1978 (hatART, 1978 [1995])

With Alex Cline
 For People in Sorrow (Cryptogramophone, 2013)
With George Gruntz
First Prize (Enja, 1989)
With William Parker
 Sunrise in the Tone World (AUM Fidelity, 1997)

With Wadada Leo Smith
Prataksis (Ninewinds, 1997)

References

External links
Official website
Vinny Golia page, Nine Winds Records website
Fred Jung, "A Fireside Chat With Vinny Golia, All About Jazz (2005)
Sebastien Moig, "Interview with <mask> Golia", JazzoSphère. Avant-garde jazz musicians
1946 births
American jazz saxophonists
American male saxophonists
Bass clarinetists
Living people
Cor anglais players
People from the Bronx
American bassoonists
American flautists
CIMP artists
Jazz musicians from New York (state)
21st-century saxophonists
21st-century clarinetists
21st-century American male musicians
American male jazz musicians
Clean Feed Records artists
Music & Arts artists
NoBusiness Records

masks: Vinny Vinny Vinny Vinny Vinny Vinny Vinny Golia Vinny Golia Vinny Golia Vinny Golia Vinny Vinny Vinny Golia Vinny Vinny Golia Vinny Vinny Vinny Vinny Golia Vinny Golia Vinny Vinny Golia Vinny Golia Vinny Golia Vinny Golia Vinny Golia Vinny Vinny Golia Vinny Vinny Vinny Vinny Vinny Golia Vinny Golia Vinny Golia Vinny Golia Vinny


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<mask> (born <mask>; February 7, 1960) is an American special effects artist whose career has spanned more than thirty years. His work has appeared in over 200 films, countless television shows, theme parks, commercials, and music videos. Some of his best-known creations include Slimer for Ghostbusters (1984), the alien seductress Sil for Species (1995), Robin Williams's robotics for Bicentennial Man (1999), and Doctor Octopus's arms for Spider-Man 2 (2004). Early life
<mask> was born in Houston, Texas. As a child, <mask> watched Universal monster films and the Hammer films. These films inspired him to become a special effects artist. <mask>'s biggest influences are Jack Pierce, Dick Smith and Rick Baker.While he was still attending high school, <mask> met one of his idols, Rick Baker, and showed him his portfolio. Baker acknowledged <mask>'s problem-solving talent and later helped him get a job working with effects creator Rob Bottin. Early career in film
<mask>'s first job was with four-time Oscar-winner Greg Cannom on The Galactic Connection, though the film was not released. He then worked on The Howling (1981) and two other films with Rob Bottin, after which Rick Baker hired <mask> as a member of the special makeup effects crew for the John Landis blockbuster, An American Werewolf in London (1981). In 1982, <mask> worked on Ivan Reitman's new project, Ghostbusters, where he created "Slimer" and the "librarian ghost". In 1982, he and visual effects artist Randall William Cook were brought in by Richard Edlund to create and run the special makeup effects studio at Boss Films, where they created characters for films like Poltergeist II (1986), Fright Night (1985), and Big Trouble in Little China (1986). XFX and Edge FX
<mask> started his own effects company in 1986 called "<mask>'s XFX."It was later renamed Edge FX. In 1989 <mask> worked on The Abyss, directed by James Cameron, which became one of the biggest blockbusters of the year. He created the "alien" creatures for the film's climax. For the 1995 film Species, the filmmakers wished to create a half-human, half-alien character named Sil that was unlike any that had been seen on screen before. They brought in artist H.R. Giger to create the creature on paper, Richard Edlund for motion-capture visual effects (an art form that was still in early stages), and <mask> to design and create animatronics for the scenes that required Sil to be physical rather than digital. Sil's alien form had to have both a full-body animatronic version with replaceable arms, heads and torsos, as well as a rubber body suit that could be worn by actress Natasha Henstridge.During the XFX and Edge FX years, <mask> also worked on two Stephen King mini-series: The Stand (1994) and The Shining (1997), for which he won Emmy Awards. In addition, his company did four seasons of the TV show Outer Limits, three seasons of Stargate SG-1, and ultimately opened a studio in Vancouver called Pacific Effects Group. He also created earth-shattering illusions for several seasons of magician Criss Angel’s A&E television show, Mindfreak. In 2003, <mask> wrote, produced, and directed a short called Everloving, which played as part of the Brooklyn Film Festival. Rubberhead
In 2017 <mask> published the first volume in his five volume series "Rubberhead," which chronicles his career in special effects. Volume 1 was critically acclaimed and features hundreds of photographs from <mask>'s thirty plus year career. Volume 1 also features a foreword by acclaimed filmmaker John Landis.On April 2, 2018, the Kickstarter for Rubberhead Volume II went live. As of October, 2021, campaign rewards including hardcover and softcover editions of the book still had not been distributed to the over 500 pledgers on Kickstarter, who paid over $70,000 to <mask>; nor to purchasers who preordered the book through <mask>'s webstore, although a retail edition had been available for three months. Innovations
For the film Innocent Blood (1992), <mask> innovated contact lenses that could glow and change color on command without digital after-effects. They were scleral lenses coated with silicone glass and Scotchlite, so that when lights, such as those from a color wheel were projected on them, the colors would bounce back toward the camera. For Lord of Illusions (1995), horror master Clive Barker required <mask> to create an organic-looking creature with skin that could pulse, move, and morph without the use of stop motion photography or other techniques such as mold-casting that were industry standards at the time. Thus <mask> innovated a monster-making technique with Bill Bryan that employed plastic bags, old yogurt containers, colored methyl cellulose "slime", and used gravity and liquid as a propellant. This technique is one that he modified time and again, such as for making slimy tentacles out of plastic and goop for the embryonic pods in Species (1995).Personal life
<mask> was married to actress Linnea Quigley from 1990 to 1992, and to Constance Zimmer from 1999 to 2001. During <mask>'s eight-year hiatus from the film industry, he spent a year living in the remote jungles of Costa Rica, as well as living in Austin, Louisiana, and the Smoky Mountains. During this time he wrote three books, and his effects were profiled in several other publications. <mask>'s career in effects has been featured in books written by Anthony Timpone, Thomas Morawetz, and Rama Venkatasawmy. <mask> is also an instructor at the Stan Winston School of Character Arts. On May 1, 2015, the documentary, The Death of "Superman Lives": What Happened? directed by Jon Schnepp, about Tim Burton's canceled film Superman Lives was released.<mask> was featured in the documentary, as he was a principal special effects artist on the film working primarily on Superman's "light up" regeneration suit. In 2016, promoted a special effects book and biography called Rubberhead: Sex, Drugs and Special FX on Kickstarter.com. The first of a planned 5 volumes. Lovecraft's: Necronomicon (1993)
 The Temp (1993)
 Return of the Living Dead III (1993)
 Freaked (1993)
 Brainscan (1994)
 Next Door (1994)
 Oldest Living Confederate Widow Tells All (1994)
 Stephen King's The Stand (TV Mini-Series) (1994) (Emmy Award received)
 Night of the Demons 2 (1994)
 Dead Man (1995)
 The Surgeon (1995)
 Species (1995)
 Lord of Illusions (1995)
 Here Come the Munsters (TV Movie, 1995)
 The Outer Limits (TV series, 1995)
 Visitors of the Night (1995)
 Eraser (1996)
 Fatal Frames (1996)
 The Island of Dr. Moreau (1996)
 Bad Moon (1996)
 Poltergeist: The Legacy (1996-1999)
 Amistad (1997)
 Anaconda (1997)
 Buddy (1997)
 L.A. Confidential (1997)
 Nightwatch (1997)
 Stephen King's The Shining (1997) (Emmy Award received)
 Stargate SG-1 (TV series) (1997-2007)
 First Wave (TV series) (1998-2001)
 Host (1998)
 Hulk (1998) (cancelled)
 Species II (1998)
 Sphere (1998)
 Superman Lives (1998) (cancelled)
 Wrongfully Accused (1998)
 Bicentennial Man (1999)
 Can of Worms (1999)
 Charmed (TV Series, 2 episodes, 1999)
 Election (film) (1999)
 Stephen King's Storm of the Century (1999)
 The General's Daughter (1999)
 Charlie's Angels (2000)
 Red Planet (2000)
 Along Came a Spider (2001)
 Arachnid (2001)
 Monkeybone (2001)
 Blade II (2002)
 Rose Red (miniseries) (2002)
 Star Trek: Nemesis (2002)
 Dreamcatcher (2003)
 Everloving (2003)
 The League of Extraordinary Gentlemen (2003)
 The Rundown (2003)
 The Cat in the Hat (2003)
 X2 (2003)
 Scooby Doo 2: Monsters Unleashed (2004)
 Spider-Man 2 (2004)
 The Village (2004)
 Constantine (2005)
 Fantastic Four (2005)
 Jarhead (2005)
 War of the Worlds (2005)
 Stay (2005)
 Unearthed (2006)
 I Am Legend (2007) (makeup test)
 Where the Wild Things Are (2009)
 Fear Clinic (2014)
 The Death of "Superman Lives": What Happened? (2015) (interviewed)

References

External links

 Steve Johnson bio at Stan Winston School of Character Arts
 Everloving – short film/Moby music video by Steve Johnson

WARNING, December 2017: Apparently there are no works by this Steve Johnson in the Library of Congress (LC) catalog (that is, for LCCN below), where "Johnson, Steve, 1960–" and "Johnson, Steve, 1960 June 14–" are two others born 1960. This effects artist is "Johnson, Steve, 1961–" at WorldCat (below), but that is yet another person in LC catalog.1960 births
Living people
People from Houston
Special effects people
Visual effects artists
American make-up artists
Primetime Emmy Award winners

masks:
Steve Johnson
Steven Marcus Jacobs
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Steve Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson
Johnson


text_chunks:
<mask>MRI, (11 September 1945 – 11 August 2021) was an Italian-Monégasque conductor and composer. Early life
<mask> was born on 11 September 1945 in Rome, Italy. When 16-years old, Sergiu Celibidache let him conduct an orchestra, then took him as a pupil. He subsequently studied with Franco Ferrara and Hans Swarowsky. In 1967 he won the “Firenze” prize. Career
Following his debut with the Berlin Philharmonic Orchestra, Gelmetti regularly performed as a conductor at international opera houses, concert halls, and festivals. From 1989 to 1998 he was the Principal Conductor of the Stuttgart Radio Symphony Orchestra as well as the Schwetzingen Festival; and from 2000 to 2009, Musical and Artistic Director of Teatro dell'Opera di Roma.From 2004 to 2008 he was the Principal Conductor and Artistic Director of the Sydney Symphony Orchestra. In 2012, he was appointed Principal Conductor of the Orchestre Philharmonique de Monte-Carlo, a post that he held until 2016. He was then named Chef Honoraire for life and was awarded the Monaco citizenship by H.S.H. Prince Albert II. While at the Teatro dell'Opera di Roma he led some lesser-known or rediscovered lyric works; the world premiere of Marie Victoire (written in 1914 but never performed) and Marilyn (1980) by Lorenzo Ferrero; La fiamma (1933) by Ottorino Respighi; Sakùntala (1921) by Franco Alfano; and Iris (1898) by Pietro Mascagni. He notably conducted Mozart’s Don Giovanni, Le nozze di Figaro (earning him the "Best Conductor of the Year" prize from Opernwelt), Così fan tutte and The Magic Flute. Among other works he conducted: Francesca da Rimini, Das Rheingold and Falstaff in Monte-Carlo; William Tell in Zürich, Monte-Carlo and Paris; La forza del destino and Attila in Parma; Les vêpres siciliennes in Naples; Turandot in Tokyo; The Barber of Seville and I due Foscari in Toulouse; Un ballo in maschera, La traviata in Trieste; La fanciulla del West and Tosca in Liège; Rossini's Stabat Mater in Sarajevo.Most recently he led a video production of La Cenerentola directed by Carlo Verdone for Rada Film and Verdi's Messa da Requiem in Rome. In Pesaro, Italy, at the end of last century, Gelmetti conducted several productions at the Rossini Opera Festival: Tancredi, La gazza ladra, Otello, Maometto II, He was awarded the Rossini d’Oro  for William Tell, a world premiere of the complete opera lasting over five hours. Apart from opera, he regularly conducted symphonic concerts in Germany (Berlin, Bonn, Hamburg, Stuttgart, Munich, Cologne, Dresden, Leipzig); in France (Paris, Toulouse, Bordeaux, Lyon) in Spain (Madrid, Bilbao), in Italy; also the Czech Philharmonic, the Vienna Philharmonic, the London Symphony Orchestra in the UK, the St. Petersburg Philharmonic, the Qatar Philharmonic Orchestra, in Copenhagen, in Oslo. He was also seen performing in China and in Oman. He is very much appreciated in Japan, where he conducted the NHK Symphony Orchestra, the Yomiuri Nippon Symphony Orchestra and the Japan Philharmonic Orchestra. He was awarded the Tokyo critics’ prize “Best Performance of the Year” for Symphony No. 9 (Beethoven).His discography with EMI, Sony, RICORDI, FONIT, DECCA, TELDEC, NAXOS and AGORÀ, displays a vast and complex repertory: operas by Rossini, Puccini and Mozart; Ravel orchestral music; symphonies by Mozart, selected works by Stravinsky, Berg, Webern, Varèse and Nino Rota. Recent releases include two rare Rossini operas and Anton Bruckner’s Symphony No. 6. Gelmetti also composed music. He wrote "In Paradisum Deducant Te Angeli", premiered in Rome and later performed in London, Munich, Frankfurt, Budapest, Sydney and Stuttgart; "Algos" for large orchestra, premiered in 1997 by the Münchner Philharmoniker and "Prasanta Atma", commissioned in 1999 to celebrate Sergiu Celibidache. More recently, the Teatro Comunale di Bologna commissioned him the "Cantata della Vita" for choir, cello solo and orchestra. He has been teaching conducting at the Accademia Musicale Chigiana in Siena and at the Accademia Nazionale di Santa Cecilia in Rome.Personal life
<mask> was created a Knight of the Order of the Arts and the Letters of France, Commander of the Order of Cultural Merit of Monaco, and Knight of Grand-Cross of the Order of Merit of the Italian Republic of Italy. He died in Monaco on 11 August 2021, at the age of 75. Partial discography
 Berg-Stravinsky-Ravel: Violin Concertos – Frank Peter Zimmermann Radio-Sinfonieorchester Stuttgart (EMI) (CD)
 Donizetti: “Les martyrs” Gencer/Bruson/Garaventa/Furlanetto Orch. Teatro La Fenice (CD)
 Mascagni: "Iris" Dessì/Cura/Servile/Ghiaurov Orchestra del Teatro dell'Opera di Roma (Ricordi) (CD)
 Mozart: Symphony nr. (2015). Le nouveau dictionnaire des interprètes. Paris: Éditions Robert Laffont.External links
 <mask> <mask> biography at the Music Partnership Limited

1945 births
2021 deaths
Musicians from Rome
Italian male conductors (music)
Italian male composers
Accademia Nazionale di Santa Cecilia faculty
Accademia Musicale Chigiana faculty
21st-century Italian conductors (music)
21st-century Italian male musicians
Knights Grand Cross of the Order of Merit of the Italian Republic
Naturalized citizens of Monaco

masks:
Gianluigi Gelmetti O
Gianluigi Gelmetti
Gelmetti
Gianluigi
Gelmetti


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<mask> (2 February 1808 – 3 March 1887) was a Jurist, Journalist and Natural history researcher. His zoological publications are considered to be a significant contribution to knowledge of hydroids and bryozoans. <mask> also contributed very considerably to the political and economic progress of his home city:  between 1869 and 1887 he served seven times as the Mayor of Hamburg. Life

Provenance
<mask> descended from the "<mask> von Kirchdorff" couple, originally from Bohemia, who had been ennobled in 1539, their son, <mask> von Kirchdorf having been raised further in the hierarchy of the nobility in 1590. <mask> (1613–1648) came to Hamburg as a merchant, being granted citizenship of the city at the height of the Thirty Years' War, in 1640, which meant renouncing his aristocratic title. <mask>'s own parents were the merchant <mask> (1773–1844) and his wife, born Anna Katharina Ruesz (1778–1811), the daughter of another merchant, <mask> (1728–1811). <mask>'s paternal grandfather, <mask> (1736–1798), was a merchant based for many years in Archangelsk.Early years
After 1806 <mask>'s father faced ruin on account of the Napoleonic trade restrictions known as the Continental System, the city having fallen under French control earlier that year. The family therefore left Hamburg in 1810, moving to Saint Petersburg in 1810. Unfortunately the boy's mother died the same year:  two of his brothers had also died in infancy. <mask> and his two remaining brothers were sent to live with Jacob von Krause who was married to their father's sister, Julia (and thereby, by marriage, the Kirchenpauer boys' uncle). The extended family fled to London during the Autumn of 1812 to avoid the French invasion, but were able to return the next summer. The three brothers stayed on with their otherwise childless aunt and uncle in Saint Petersburg, where they grew up while their own father pursued his itinerant mercantile career. <mask> attended a German school in Saint Petersburg, being sent on in 1823 to a German speaking secondary school (Gymnasium)  at Dorpat, a university city in Livonia celebrated as a centre of learning.In 1826 he transferred to the city's university where he studied jurisprudence and civil law, also joining the student fraternity. In 1830 <mask> switched to Heidelberg where he completed his studies by receiving a qualification as a doctor in law on 5 August 1831. Heidelberg was a popular university with the merchant families of Hamburg and afforded excellent opportunities for networking. He developed a particular friendship with Carl Friedrich Petersen, a fellow law student from Hamburg whose later career in city politics would in some respects mirror Kirchepauer's own. Hamburg
In 1832 <mask> received Hamburg citizenship which was a prerequisite for working in the city as a lawyer. On 9 July 1832 he was authorised as a Hamburg lawyer, continuing to be listed as such till 1843. In parallel with his legal work, he worked as a journalist.His name appeared on numerous opinion pieces:  he was a committed advocate of Free trade, a subject much in the news at the time. Many of his contributions appeared in "Hamburgische Zeitschrift für Politik, Handel und Handelsrecht", a newspaper focused on commerce, politics and legal matters. In 1839 he joined with the historian and city archivist Johann Martin Lappenberg (and others) to create the Verein für Hamburgische Geschichte, taking on the presidency of the economic history section of it. He had become armigerous in 1833 and in 1839 became a member of the Hamburg College of Arms. In 1837 he was elected as a captain in the Civic Militia, which entitled him to participate in council panels. Civic responsibilities
In 1840 <mask> represented Hamburg in negotiations over the construction of what became the Hanover–Hamburg railway. Because of his free trade stance, in February 1840 he was made librarian and, simultaneously, secretary of the Hamburg Commercial  (forerunner of the city's Chamber of Commerce).Following the Great Fire of 1842 <mask> was credited with having saved the new Hamburg Stock Exchange building, which also contained the Commercial Deputation´s offices. Directly afterwards, he became one of the most active members of the Commission for Reconstruction. During 1842 he was also elected chairman of the , producing several memoranda recommending improvements to the efficiency of its governance. On 4 December 1843, at the remarkably young age of 35, he was elected a member of the city senate. Senator
The senate mandated him to represent the city in renegotiations covering the important , intended to update an act originally dated 21 June 1821. The act was in urgent need of modification due to changed usages and the widespread acceptance that tolls on shipping both inhibited economic growth and ran counter to the increasingly mainstream free trade principals of the time. The renegotiations resulted in the so-called "Additional Act" ("Additionalakte") of 13 April 1844 which partly replaced and partly extended the previous provisions, but at this stage some tolls for shipping remained in place.In 1849 he was a member of the "Nine man Commission" ("Neuner-Kommission") created by the senate in response to the revolutionaries' demands arising out of the disturbances of the previous year. Its purpose was to examine the draft proposals presented by the quasi-parliamentary . (Hamburg finally got its new constitution in 1860.) From 1849 he was travelling more, initially in connection with negotiations to try to get rid of the shipping tolls on the Elbe. Between 1851 and 1857 <mask> combined his senatorial responsibilities with service as a Permanent Representative of the city of Hamburg at the Federal Convention of the German Confederation. Ritzebüttel and science
In 1858 <mask> was appointed, at his own request, the senatorial magistrate at Ritzebüttel, the coastal fort a couple of hours downstream from Hamburg. The fort marks the strategically vital point at which the Elbe meets the North Sea,   He retained the office till 29 August 1864.On the administrative front he undertook the separation between justice and administration there. <mask> was the last Hamburg senatorial magistrate at Ritzebüttel. After 1864 the duties were undertaken by an official. The appointment also allowed him the opportunity to pursue his passion for natural science: he devoted much time to studying under a microscope the life forms clinging to the buoys at the mouth of the estuary. <mask> continued with these studies after returning to Hamburg in 1864: between 1862 and 1884 he would publish six papers on hydroids, describing eight new nominal genera and seventy-seven new nominal hydroid species. In 1873 when the Geographic Society in Hamburg was founded, <mask> was appointed the first president. The output of this self-taught scientist caught the attention of the academic establishment and on 7 April 1875 he found himself inducted into the Leopoldina Academy of Sciences (" Sacri Romani Imperii Academia Caesarea Leopoldino-Carolina Naturae Curiosorum"), remaining a member till his death in 1887.An honorary doctorate from Kiel University followed. He would bequeath his own natural history collection to the Hamburg Natural History Museum. Prussia
Prussian victory in the war of 1866 transformed the power relationships across Northern Germany, where the old German Confederation gave way to the North German Confederation. Within the northern region the ensuing four years saw the painful but rapid surrender of powers from the former constituent states to Berlin. <mask> was mandated in 1867 to represent Hamburg in the Reichstag (legislative assembly) of the North German Confederation. Following the completion on unification in 1871, he became Hamburg's representative in the Bundesrat, the (nominally) upper house in Germany's bicameral legislature, retaining this mandate till April 1880 when he was succeeded by Johannes Versmann. Mayor
In 1868 <mask> was elected junior mayor of Hamburg.Mayoral terms lasted only a year, but the next year he served as the city's senior mayor:  between 1869 and 1887 he served in total seven times as the junior or senior Mayor of Hamburg. Coupled with his position as Hamburg's representative in the Bundesrat, this meant that he oversaw the interminable negotiations that accompanied the unification process. His focus was on the preservation of local sovereignty within the new German state. He was deeply mistrustful of the German Chancellor, Otto von Bismarck and his intentions. For his part, Bismarck had never been a man to disclose his negotiating intentions to anyone, but the nature of the German state that emerged after 1870 suggests that he never had any plans to create a relentlessly centralising state structure along the Anglo-French model. Bismarck in negotiation was usually content to be flexible over detail, but ruthlessly uncompromising on what he saw as key principals. One matter over which there could be no compromise involved the currency.Back in 1619, taking inspiration from Amsterdam and Venice, Hamburg had been the first state in the German region to introduce a clearing bank structure, and the Hamburg senators, led by <mask>, saw the city's silver-based Hamburg mark, subdivided into sixteen shillings, in turn subdivided into twelve pence, as key to the city's centuries of commercial success and prosperity. The senators repeatedly found reasons to postpone substituting the gold-based German gold mark, which they feared would deal a fatal blow to Hamburg's sovereignty. Eventually the city's own chamber of commerce proposed a compromise deal which the central government accepted, and which effectively increased the value of the silver-based Hamburg mark at the time of the changeover. The new mark was introduced on 15 February 1873 and the so-called "silver accounts" containing the old money were closed. After 1 January 1875 in Hamburg, as in the rest of the country, the gold mark became the only legal currency within Germany. Given the political reality of German unification Hamburg would have had no option other than to accept the single German currency, but along the way the senate ensured a good price for their acceptance. Another contentious issue involved the German customs union which traditionally had excluded the Hanseatic cities such as Hamburg whose wealth was based on international trade.At the time of unification back in 1871 exclusion from the 1833-founded German customs union was of little consequence since the Chancellor Bismarck was committed to free trade. However, the expansion and speeding up of rail transport and shipping saw European agriculture coming under price pressure from continents where land and labour were relatively abundant and inexpensive. One effect of the agricultural depression that struck Europe in the 1870s was a return to protectionism across much of Europe, and Bismarck, himself a member of the landed class, came under pressure from the owners of the vast farming estates in the east of the country to impose tariffs on imports of agricultural produce. Bismarck saw a chance to diminish Hamburg's irritating autonomy, and some members of Hamburg's business community began to be persuaded of the need to join the German customs union, albeit without sacrificing the "freeport" status on which commercial life depended. On 21 May 1879 the Hamburg senate received a disarmingly bland note from Bismarck, enquiring when they intended to accede to the customs union: the Hamburg senate discussed and procrastinated. Sovereignty was at stake. Suddenly, however, on 21 April 1880 Bismarck changed tack, applying to the German Bundesrat for the port city of Altona to be incorporated into the customs union.Traditionally Altona was a separate rival municipality, downstream along the Elbe from Hamburg, but by this time he two conurbations had become contiguous, meaning that Bismarck's application implicitly threatened to place a massively disruptive frontier through the middle of what the business community regarded as a single urban entity. <mask> was so enraged by Bismarck's tactic that he resigned from the Bundesrat within 24 hours, and negotiation with the central government of the entire matter was taken on by his successor as the Hamburg representative, Johannes Versmann. Versmann proved a little more pragmatic than Kirchenpauer, and eventually, on 25 May 1881, a "package deal" was concluded which provided both for an enlarged freeport area and Hamburg's entry into he German customs union. There had been compromises on both sides, but in the eyes of many, Hamburg's economic clout had combined with the stubborn intransigence of her senators to leave the city with a privileged status in the rapidly industrialising new Germany. <mask> had been chairman of Hamburg's  since 1869, and after 1880 he took a step back from his habitual role as the senate's expert on trade and commerce, concentrating instead on transforming the city's public education provision. His contribution was recognised when the Kirchenpauer-Gymnasium (secondary school) was named after him in 1914 (though it was replaced and renamed again in 1986). He also played a leading role in the creation of a precursor to the current University of Hamburg.<mask> was seated at his desk in the mayoral office on 3 March 1887 when he died. His body was buried in the Ohlsdorf Cemetery. Family matters
In 1844 <mask> married Juliane Dorothea Krause (1819–1905). They married in Weißtropp near Dresden. Juliane's father, Johann Krause (1779–1829), had achieved modest notability as a theologian and merchant. Her brother,  built a career as a landscape painter and travel writer. Juliane's father Johann Krause was also a younger brother to Jacob von Krause (1775-1857), husband to <mask>'s aunt and the man in whose Saint Petersburg home <mask> and his brothers had grown up while their own father traveled for his business.In addition to fostering the three Kirchenpauer boys, the sons of Julia's brother, Johann Georg, Jacob von Krause and his wife Julia had also, a few years later, looked after Robert and Juliane Kruse, the children of Jacob's brother Johann. The marriage of <mask> and Juliane <mask> produced three recorded children:
 <mask> <mask> (1847–1914) became an architect. <mask> (1859–1905) became an army officer. <mask> married Hermann Stannius (1842-1912) who was at one stage he German consul in Smyrna (Izmir). References

1808 births
1887 deaths
Mayors of Hamburg
Senators of Hamburg (before 1919)
Hanseatic diplomats
German naturalists
Heidelberg University alumni
University of Tartu alumni
Burials at the Ohlsdorf Cemetery

masks:
Gustav Heinrich Kirchenpauer
Kirchenpauer
Gustav Kirchenpauer
Kirchenpauer
Hans Kirchenpauer
Hans Kirchenpauer von Kirchf
Gustav Kirchenpauer
Johann Georg Kirchenpauer
Barthold Heinrich Ruesz
Kirchenpauer
Johann David Kirchenpauer
Gustav Kirchenpauer
Kirchenpauer
Gustav
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Gustav Kirchenpauer
Kirchenpauer
Kirchenpauer
Kirchenpauer
Gustav Kirchenpauer
Gustav Kirchenpauer
Kirchenpauer
Kirchenpauer
Gustav Heinrich
Dorothea Kirchenpauer
Gustav Jakob
Kirchenpauer
Ulrich Kirchenpauer
Flora Kirchenpauer


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<mask> (, born August 5, 1969), commonly known as Nune or Nouné, is an Armenian singer who began singing with an Armenian jazz band in the early 1990s before becoming a lounge singer at resorts in the Middle East. Biography

Education
Even before studying music in college, Yesayan made a name for herself at her high school for being a gifted vocalist and talented performer. She graduated from high school in 1986 and was accepted to the Polytechnic University of Yerevan to study engineering. During her first year in college, Nune excelled in her engineering studies and received high marks in both mathematics and physics. She spent her time away from school performing Armenian folk music with an amateur band. The group, which included long-time friend and collaborator Arthur Hagopian, appeared at small venues and a few concerts. After successfully completing her first year of course work at the Polytechnic University in 1987, Nune decided to change her major and focus on her passion for music.She applied for admission and was accepted to the Jazz and Pop College of Yerevan, where she began her studies in the fall of 1988. Nune's teachers and vocal coaches at the Jazz and Pop College included famed Armenian jazz performer Datevig Hovanissian and Yerevan's most prolific pop producer, composer Arthur Grigorian. In addition to her intense rehearsal and study schedule at the college, Nune performed regularly at Grigorian's Yerevan jazz club, "Azad Jamantz". Following graduation from the Jazz and Pop College in 1990, Nune auditioned and was accepted into the Armenian National Jazz Orchestra. Under the direction of famed composer and conductor Constantine Orbelian, Nune performed with the Orchestra in Armenia and throughout the former Soviet Union, singing Armenian folk songs and jazz standards. Career

Nune's first television appearance as a solo act was on the "Ayo" television program, a show similar to "Pop Idol". Nune won the highest possible scores from a panel of judges, retained the title of "top female vocalist" for the entire length of the television season and quickly became a household name in Armenia.Similar successes followed in 1990 and 1991, when Nune participated in two more nationally televised talent competition shows. Nune was named "Miss Soul" in 1990 and "Best Female Vocalist" at the Asoop (Comet) Award Show in 1991. Accolades and honors from domestic and international awards shows including the "Armenian Music Awards" in Los Angeles have continued and included honors for best album, best music video, best concert and best female vocalist. Nune recorded her first album of traditional Armenian songs in 1991. It was produced by Garbis Titizian and Prime Entertainment. Arthur Hagopian, who was part of Nune's first amateur band, arranged the album using modern instruments and contemporary arrangements. The music video for her rendition of the folks song "Kele Lao" was an immediate hit in the Armenia Diaspora and a regular staple of the US-based Armenian television station, Horizon (TV).In an interview, Nune said "I was jealous" in English in an interview before her concert here, occasionally turning to an interpreter for assistance. "That's when I decided to do something the young people will sing and remember the words. I wanted to work with Armenian folk songs, rearrange them and make them appealing to young people". In 1991 and 1992, Nune was invited by her former teacher, Arthur Grigorian, to perform in shows he produced. Her appearances on television with Grigorian's group were a hit, and the group's concerts were always sold out. After the fall of the Soviet Union, harsh economic conditions in Armenia forced Nune to seek employment opportunities abroad. Her ability to sing in many languages and in various styles won her contracts at 5 Star hotels in the Middle East.During her concerts and small-venue shows, Nune sang contemporary hits, pop and jazz standards and songs in English, Arabic, French and Armenian. Upon her return to Armenia in 1997, Nune partnered again with Prime Entertainment in an effort to distribute her CDs internationally. Executive Producer Garbis Titizian arranged for the release of Nune's first CD and the recording and distribution of her second album, World. In 1998, Nune formed her own band, which continues to work with her today. Together with her musicians, Nune took her band on the road throughout Armenia, performing benefit concerts for the Armenia Fund, an organization which fund the development of Armenia's infrastructure. Her musical range has expanded from singing traditional Armenian folk songs to include singing new songs written specially for her. Nune's North American debut took place at the Pasadena Civic Center Auditorium in Southern California.Because of her hit music videos and popular CDs, Nune sold out her first concert in the US and enjoyed unexpected and unprecedented attention during her appearances at Armenian schools and record stores. Her concert in honor of those who lost their lives during the terror attacks on September 11, 2001, was attended by nearly eight thousand people and mentioned on the CNN "World Report" and the Mir and Associated Press television news services. Nune's most notable concert venues have included the Hamaleer Sport Complex in Armenia, the Universal Amphitheatre in Los Angeles, the Kodak Theater in Hollywood and the Lincoln Center in New York City. She has also appeared in concert with famed Armenian-Persian singer Andy and French idol Patrick Fiori. Her largest audiences to date was at a charity concert she performed at the Cascade in Yerevan. The open-air concert attracted more than 35,000 fans. Public activities
In 2019 she signed a petition in defense of former president Robert Kocharian which caused public critics.Charity

In addition to her charity concerts, Nune has continued to dedicate her time and efforts to helping her homeland and her people. She has appeared as a host and guest of the globally telecast Armenia Fund Telethon in 2000 and 2004 and continues to enjoy press coverage in Armenia, Russia and in Armenian publications throughout the Diaspora. Even mainstream American media, including the New York Times and Boston Globe, have taken note of her fame and written about her phenomenal fame and status among her people and her impact on the world of Armenian music. Discography
1998: Kavare Mer
1999: Who Knows
2000: World
2001: Nune
2002: Love
2003: Sayat Nova
2004: Me
2005: Nune: International Album
2006: Dle Yaman
2012: Sold Out

Music videos
"Who Knows"
Khkhcha
Mi Bala
"World"
Ari Yar
Inchu Es Kez Sireci
"Me"
Hognel Em
Konn Em
"Nune"
Vooy Nare
Nune
Gheseye Eshgh
Prosto Eto Ya (I'm easy)
"Love"
Romance
Agha Jan
"Dle Yaman"
Miayn Es Ev Du
Nairyan Dalar Bardi
Hasarak Mard
Es Uzum Em

References

21st-century Armenian women singers
1969 births
Living people
Musicians from Yerevan
Armenian pop singers
Honored artists of Armenia
Armenian folk-pop singers
Armenian Apostolic Christians
Komitas State Conservatory of Yerevan alumni
20th-century Armenian women singers


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<mask><mask> is an American academic. He is professor emeritus of communication at Stanford University, and the author of several books about American journalism. His scholarship focuses on questions of press responsibility and accountability. <mask> believes journalists must put social justice advocacy above objective reporting. According to Glasser, Journalists need to be overt and candid advocates for social justice, and it's hard to do that under the constraints of objectivity. Professional background
<mask> "Ted<mask> is professor emeritus in the Department of Communication, Stanford University, where for several years he was also affiliated with the Modern Thought and Literature Program. For 14 years he directed Stanford's Graduate Program in Journalism.His several books include Normative Theories of the Media: Journalism in Democratic Societies, written with Clifford G. Christians, Denis McQuail, Kaarle Nordenstreng and Robert A. White, which won the Frank Luther Mott-Kappa Tau Alpha Award for Best Research-Based Book on Journalism/Mass Communication; Custodians of Conscience: Investigative Journalism and Public Virtue, written with James S. Ettema, which also won the Frank Luther Mott-Kappa Tau Alpha Award as well as the Society of Professional Journalists’ Sigma Delta Chi Award for Research about Journalism and Pennsylvania State University's Bart Richards Award for Media Criticism. Glasser's research, commentaries and book reviews have appeared in a variety of publications, including Journalism Studies; Journal of Communication; Journalism: Theory, Practice and Criticism; Journalism & Mass Communication Quarterly; Critical Studies in Media Communication; Journal of Media Ethics; Policy Sciences; Journal American History; Quill; Nieman Reports and The New York Times Book Review. He is currently serving on the editorial boards of seven academic journals. In 2002-2003 he served as president of the Association for Education in Journalism and Mass Communication (AEJMC). He had earlier served two terms as a vice president and chair of the Mass Communication Division of the International Communication Association. He has held visiting faculty appointments as a Senior Fulbright Scholar at the Hebrew University of Jerusalem, Israel; as the Wee Kim Wee Professor of Communication Studies at Nanyang Technological University, Singapore; and at the University of Tampere, Finland.On Stanford's campus, he was for 19 years a member of the board of directors of The Stanford Daily Publishing Corporation, including a brief stint as board chair; and for nine years a member of the program committee of the John S. Knight Fellowships program for mid-career journalists. Locally, he served for 15 years as a member of the board of directors of Cable Co-op, the cooperatively owned and operated cable system that served Palo Alto, Stanford and neighboring towns. He continues to serve on the Advisory Council of the Mid-Peninsula Community Media Center. <mask> came to Stanford in 1990 from the University of Minnesota, where he taught in the School of Journalism and Mass Communication and served as the founding associate director of the Silha Center for the Study of Media Ethics and Law. His first faculty appointment was at the University of Hartford. He received his Ph.D. in 1979 from the University of Iowa, where in 2011 he was inducted into the School of Journalism and Mass Communication's Hall of Fame, an honor he shares with, among many others, George Gallup, Wilbur Schramm and Hanno Hardt, his mentor and academic adviser at Iowa. Selected books

Normative Theories of the Media: Journalism in Democratic Societies.By Clifford Christians, <mask><mask>, Denis McQuail, Kaarle Nordenstreng and Robert White. Urbana: University of Illinois Press. . The Idea of Public Journalism. Edited by <mask><mask>. New York: Guilford Press. .
Public Opinion and the Communication of Consent. Edited by <mask><mask> and Charles T. Salmon. New York: Guilford Press, 1995. .
Media Freedom and Accountability.Edited by Everette E. Dennis, Donald M. Gillmor, and <mask><mask>. Westport, Conn: Greenwood Press, 1989. . Selected articles

"On Readability and Listenability," ETC: A Review of General Semantics, XXXII (June 1975): 138-142. "Newsworthy Accusations and the Privilege of Neutral Reportage," Communication Quarterly, 28 (Spring 1980): 49-56. "Play, Pleasure, and the Value of Newsreading," Communication Quarterly, 30 (Spring 1982): 101-107. "Objectivity Precludes Responsibility," The Quill, February 1984, 13-16. "On the Morality of Secretly Recorded Interviews," Nieman Reports, XXXIX (Spring 1985): 17-20."Common Sense and the Education of Young Journalists," by <mask><mask> and James S. Ettema. Journalism Educator, 44 (Summer 1989): 18-25, 75
"Communication and the Cultivation of Citizenship," Communication, 12 (Spring 1991): 235-248. "When the Facts Don't Speak for Themselves: A Study of the Use of Irony in Daily Journalism," by <mask><mask> and James S. Ettema, Critical Studies in Mass Communication, 10 (December 1993): 322-338. “Play and the Power of News,” Journalism: Theory, Practice and Criticism, 1 (April 2000): 23-29. “The Politics of Public Journalism,” Journalism Studies, 1 (November 2000): 683-686. “The Motives for Studying Journalism,” Journalism Studies, (2001) 2, 4: 623-627. “The Campus Press and Pernicious Speech: The Case Against Stupid Advertisements,” Journalism & Mass Communication Educator, 59 (Spring 2004): 17-23.“Ethics and Eloquence in Journalism: An Approach to Press Accountability,” by <mask><mask> and James S. Ettema, Journalism Studies, 9 (August 2008): 512-534. “The Claims of Multiculturalism and Journalism's Promise of Diversity,” by <mask><mask>, Isabel Awad, and John W. Kim. Journal of Communication, 59 (2009): 57-78. “The Privatization of Press Ethics,” Journalism Studies, 15, 6 (2014): 699-703. References

External links

 Stanford communication faculty page
 <mask><mask>'s Website

Living people
University of Iowa alumni
Stanford University faculty
Journalism academics
Year of birth missing (living people)

masks:
Theodore L
. Glasser
Glasser
Theodore
" Glasser
Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser
Theodore L
. Glasser


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<mask> (born 26 June 1979) is a Norwegian jazz musician, and the brother of the jazz musicians <mask> and <mask>. He is mainly known from his releases on the jazz label ECM Records. His main instrument is the trumpet, but he also plays upright bass, vibraphone, piano and guitar. He has performed with several well-known music groups and musicians, e.g. Jaga Jazzist, Manu Katché, and the Trondheim Jazz Orchestra together with Chick Corea and Pat Metheny. Besides this he is also known for his collaboration with Norwegian singer-songwriter Thomas Dybdahl, and recordings with the Norwegian bands Turboneger, DumDum Boys, Motorpsycho, D'Sound and Bigbang. Career

After finishing high school, he started on the Music program at the Toneheim Folkehøyskole near by Hamar, followed by studies on the Jazz program at Trondheim Musikkonsevatorium.Born in 1979 <mask> has marvellous range of achievements to show for himself: in 2007 he won the International Jazz Talent, awarded to him by the International Jazz Festivals Organization situated in New York. He then won the Statoil Scholarship in 2009, undoubtedly the largest scholarship in Norway, as he was heading for the release of his second album on one of the worlds most influential jazz record labels, ECM. In the meantime <mask> keeps himself busy participating on several albums playing either trumpet, double bass, vibraphone, piano, guitar, or in his own words “anything needed.” Some of his collaborators have been, among a vast amount of others, Trondheim Jazz Orchestra and Chick Corea, Iro Haarla, Manu Katché and Jacob Young. <mask> is also a member of the Norwegian genre-defying group Jaga Jazzist, a group with which he has performed for many years. In the summer of 2006 he toured with Jan Gunnar Hoff Group and Mike Stern and in October/November on European tour with Thomas Dybdahl. Eicks band is currently a five-piece, featuring two drummers, bass, piano and Eick himself. The lineup changes invariably as all the participating musicians are amongst Norways finest, but for the most part the band consists of Andreas Ulvo (piano), Torstein Lofthus and Gard Nilssen (drums), and Audun Erlien (bass).The music is composed by <mask> and pays tribute to both the truly unique Scandinavian soundscape, as well as the lyricism and melancholy of the Canadian trumpeter Kenny Wheeler. In 2013 <mask> appeared at the North Sea Jazz Festival within his own Quintet including Andreas Ulvo (piano, Fender Rhodes, keyboards, electronics), Audun Erlien (bass), Andreas Bye & Kenneth Kapstad (drums). He received a prize of $20,000 US on 13 January 2007 during the IAJE 34th Annual International Conference in New York City where he also performed. The annual prize was founded by IAJE in cooperation with the International Jazz Festivals Organization (IJFO). He was awarded the 2014 DNB price at Kongsberg Jazzfestival (300,000 NOK). References

External links

IAJE 34th Annual International Conference  (PDF Brochure). International Jazz Festivals Organizations (IJFO)
International Association for Jazz Education (IAJE).Festival sites
Molde-jazz
Montreal Jazz festival
Montreux Jazz Festival
Monterey Jazz Festival

Jaga Jazzist members
1979 births
ECM Records artists
Living people
Musicians from Furnes, Norway
Norwegian jazz composers
Norwegian jazz trumpeters
Male trumpeters
Norwegian multi-instrumentalists
20th-century Norwegian trumpeters
21st-century Norwegian trumpeters
20th-century Norwegian multi-instrumentalists
21st-century Norwegian multi-instrumentalists
Norwegian University of Science and Technology alumni
Male jazz composers
Trondheim Jazz Orchestra members
Jacob Young Group members
Music for a While (band) members
Motif (band) members

masks:
Mathias Eick
Johannes Eick
Trude Eick
Eick
Eick
Eick
Eick
Eick


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<mask> (born 1963) is a German musicologist. Life
Born in Göttingen, Hiekel first studied musicology, art history and history at the universities of Cologne and Bonn before he completed his double bass studies at the Musikhochschule Köln. Afterwards he received his doctorate at the Rheinische Friedrich-Wilhelms-Universität Bonn. He worked for many years as editor and publisher at the Breitkopf & Härtel music publishing house and as author for various ARD institutions and newspapers/magazines (including the Frankfurter Allgemeine Zeitung and Opernwelt). Since 1992 a member of various early music ensembles, in 2002 he became a lecturer at the International Darmstadt Summer Courses for New Music and directed the composer seminars. From 2003 he was assistant professor for 20th century music at the Hochschule für Musik Carl Maria von Weber Dresden. In 2005 he took over the direction of the Institute for New Music at the Technische Universität Dresden and in 2008 he habilitated in historical musicology at the Technische Universität Dresden and took over a professorship for musicology/new music at the HfM Dresden.Since 2008 he is lecturer for music aesthetics and musicology at the Zurich University of the Arts. <mask> is a member of the Sächsische Akademie der Künste, in 2008-2014 secretary and since June 2015 deputy secretary of the Academy's music class. Since 2008 he is head of the mediation project , since 2012 board member of KlangNetz Dresden e. V. 2004-2019 he was board member of the Darmstadt Institute for New Music and Music Education (INMM), which he took over in 2013. In 2014 he was awarded the Saxon Teaching Prize, which was presented for the first time. In 2019 he received the 10,000 EUR prize at the Bavarian Academy of Arts. "Happy New Ears"-Preis für Publizistik. Publications
 (ed.)Überblendungen. Neue Musik mit Film/Video (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt, vol. 56), Schott-Verlag, Mainz 2016. (ed. gemeinsam mit Pierre Michel und Marik Froidefond)UNITÉ – PLURALITÉ. La musique de Hans Zender, Editions Herman, Paris 2015. (ed.)Zurück zur Gegenwart? Weltbezüge in neuer Musik (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt, vol. 55), Schott-Verlag, Mainz 2015. (ed. gemeinsam mit Wolfgang Lessing): Verkörperungen der Musik. Interdisziplinäre Betrachtungen, transcript Verlag, Bielefeld 2014. (ed.)Hans Zender: Waches Hören. Texte zur Musik, Hanser Verlag, München 2014. (ed. ): Ins Offene? Neue Musik und Natur (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt, vol. 54), Schott-Verlag, Mainz 2014. Bernd Alois Zimmermanns „Requiem für einen jungen Dichter“ (Archiv für Musikwissenschaft.Beiheft 36). Steiner, Stuttgart 1995. (ed. ): Hans Zender: Die Sinne denken. Schriften zur Musik 1965–2003. Breitkopf & Härtel, Wiesbaden 2004. Wilfried Krätzschmar – Perspektiven seines Schaffens.Sandstein, Dresden 2005.
 with S. Mauser (ed. ): Nachgedachte Musik. Studien zum Werk Helmut Lachenmanns. Pfau, Saarbrücken 2005. Musik inszeniert. Vermittlung und Präsentation von zeitgenössischer Musik. Schott, Mainz 2006.
 with Manuel Gervink (ed.): Dmitri Shostakovich – das Spätwerk und sein zeitgeschichtlicher Kontext. Sandstein, Dresden 2006.
 with Manuel Gervink (ed. ): Robert Schumanns „Welten“. Sandstein, Dresden 2007.
 with E. Werner (ed. ): Musikkulturelle Wechselbeziehungen zwischen Böhmen und Sachsen. Pfau, Saarbrücken 2007.
 with W. Gratzer (ed. ): Ankommen: Gehen.Adriana Hölszkys Textkompositionen. Schott, Mainz 2007. (ed. ): Sinnbildungen. Spiritualität in der Musik heute. Schott, Mainz 2008 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt. Vol.48). (ed. ): Musik-Kulturen (Darmstädter Diskurse. VOl. 2). Pfau, Saarbrücken 2008.
 with M. Gervink (ed. ): Klanglandschaften.Musik und gestaltete Natur. Wolke, Hofheim 2009. (ed. ): Vernetzungen. Neue Musik im Spannungsfeld von Wissenschaft und Technik. Schott, Mainz 2009 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt. Vol.49). with M. Demuth (ed. ): Freiräume und Spannungsfelder. Zur Situation der zeitgenössischen Musik heute. Schott, Mainz 2009.
 with A. Goetze (ed. ): Religion und Glaube als künstlerische Kernkräfte im Werk von Olivier Messiaen. Wolke, Hofheim 2010.
 with M. Demuth (ed.): Kulturelle Identität(en) in der Musik der Gegenwart. Pfau, Saarbrücken 2010. (ed. ): Musik und andere Künste. Schott, Mainz 2010 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt. Vol. 50).Vorzeitbelebung. Vergangenheits- und Gegenwartsbezüge in der Musik. Wolke, Hofheim 2010. (ed. ): Neue Musik in Bewegung. Musik- und Tanztheater heute. Schott, Mainz 2011 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt.Vol. 51). with M. Demuth (ed. ): Hören und Denken: Musik und Philosophie heute. Schott, Mainz 2011. (ed. ): Die Kunst des Überwinterns: Musik und Literatur um 1968.Böhlau, Weimar/Köln/Wien 2011. (ed. ): Wechselwirkungen. Neue Musik und Film. Wolke, Hofheim 2012. (ed. ): Berührungen.Über das (Nicht-)Verstehen von Musik heute. Schott, Mainz 2012 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt. Vol. 52). with Patrick Müller (ed. ): Transformationen. Zur Musik von Klaus Huber.Schott, Mainz 2012. (ed. ): Populär vs. Elitär? Wertvorstellungen und Popularisierungen der Musik heute. Schott, Mainz 2013. (ed. ): Ans Licht gebracht?Zur Interpretation Neuer Musik. Schott, Mainz 2013 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt. Vol. 53). with Christian Utz (ed. ): Lexikon Neue Musik. Metzler Verlag u. Bärenreiter Verlag, Stuttgart/Kassel 2016.(ed. ): Body sounds. Aspekte des Körperlichen in der Musik der Gegenwart. Schott, Mainz 2017 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt. Vol. 57). with David Roesner (ed.): Gegenwart und Zukunft des Musiktheaters. Theorien, Analysen, Positionen. transcript, Bielefeld 2018. (ed. ): Clash! Generationen – Kulturen – Identitäten in der Gegenwartsmusik. Schott, Mainz 2018 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt.Vol. 58). with Wolfgang Mende (ed. ): Klang und Semantik. transcript, Bielefeld 2018. (ed. ): Gegenwartsmusik als Forschung und Experiment Schott, Mainz 2019 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt.VOl. 59). Bernd Alois Zimmermann in seiner Zeit Laaber Verlag 2019. References

External links

20th-century German musicologists
21st-century German musicologists
1963 births
Living people
Writers from Göttingen

masks:
Jörn Peter Hiekel
Hiekel


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<mask> (March 21, 1872 – December 2, 1951) was an American novelist, journalist, and theatre artist. Much of <mask>’s earlier work was published with help from her parents, Mary and <mask>. <mask> later co-founded the Provincetown Players alongside Susan Glaspell, George Cram Cook, her husband Hutchins Hapgood, and others. <mask> worked with the Provincetown Players in several capacities that included directing, performing, hosting productions in her home, and having all four of her plays produced. <mask>’s plays featured plots that focused on women’s sexuality, personal relationships, and agency. Early life
<mask> was born in Franklin, Indiana, the second of five children to <mask> and <mask>. <mask> had a wife and child before his relationship with <mask>.This first marriage ended in a complicated divorce. In 1880, the diphtheria epidemic resulted in the death of all the Boyce children, except for Neith. The now family of three traveled from Milwaukee to Indiana and finally settled in Los Angeles. Neith Boyce was self-educated in her family homes in California She did this by reading the books in her parents’ library. She later attended a Los Angeles college that was overseen by an “old melancholy clerical gentleman.” Like most women at the time, Boyce also received music lessons. Career

Early Writing and Journalism
Neith began publishing pieces as a teenager in the 1880s in the Los Angeles Times, which her father co-founded. By the mid-1880s the Boyces were leading citizens in Los Angeles.The family later moved to Boston in 1891, where <mask> became an associate editor for The Cycle, which was a publication oriented towards women’s rights issues. <mask> <mask>’s editorial work and poetry. The first of Neith <mask>'s works to be published with the help of her mother was a segment titled “women’s nature poetry.” After her family moved to New York in 1896, Boyce began publishing articles and short stories successfully in Vogue magazine. By the late 1890s, Neith <mask> was living in Greenwich Village with two other young women, who, like herself, were salaried newspaperwomen. The three made their way by writing for various New York City newspapers. Neith <mask> worked for Lincoln Steffens, then editor of The Commercial Advertiser. Boyce published her first book in 1896, The Chap-Book.Playwright
<mask>’s husband, Hapgood, took to spending summers in Provincetown, Massachusetts. <mask> became involved with the local community of female playwrights in Provincetown and was one of the founding members of the Provincetown Players. All four of <mask>’s works for the stage were first presented by the Provincetown Players. <mask> also wrote, directed, and performed for the company. Major themes that are consistent throughout Boyce’s work include:
 Cases that argue for young men and women to experience periods of sexual or relational experimentation to avoid making serious mistakes. The power of social conventions, whether for good or evil. The negative effects on women’s character from having to cope with life independently.The general difficulty of women’s lives. <mask>’s Constancy (1914) inaugurated the first season of the theatre that would become the Provincetown Players. The play deals with the tempestuous relationship between two of her summer neighbors who were also members of the Provincetown Players, Mabel Dodge and John Reed. Boyce addresses sexual double standards through satirizing the love affair between Dodge and Jack Reed, both of whom were married at the time to other people. In the play, the male lead, Rex, cannot remain faithful to his lover, Moira, yet expects her to await his return from his latest love affair. This topic points to <mask>’s frustration with the sexual double standard in her own marriage, as well as the hypocrisies practiced by the male members of the Provincetown Players. The second production was of Enemies (1916) which was a collaboration between <mask> <mask> and her husband.Enemies was written as a dialogue between a man and a woman that reflected the then contemporary war between the sexes. <mask> <mask> wrote the woman’s lines, and Hutchins Hapgood wrote the man’s. The couple appeared in the play when it premiered in Provincetown. Enemies was one the first plays to be produced for radio. Both Two Sons and Winter’s Night were produced in 1916, however, a printed version of Winter’s Night was not available until 1928. This published copy of Winter’s Night featured several revisions from the script originally presented in Provincetown. Winter’s Night features a female protagonist who rejects a proposal from her late husband's brother to start a dress-making business.This results in the suitor’s suicide. Personal life
<mask> <mask> met her husband, Hutchins Hapgood, while working for The Commercial Advertiser. Hapgood himself had a long career as a novelist and journalist. They married on June 22, 1899. The two would function as friends and advisors to such cultural celebrities as Mabel Dodge, Djuna Barnes, Alfred Stieglitz, Georgia O’Keeffe, and Gertrude Stein. Hapgood and <mask> had what was outwardly claimed to be a “modern marriage” in which both partners were equal, and neither was bound by sexual fidelity. However, behind closed doors, <mask> was solely responsible for the children, while Hapgood enjoyed numerous affairs.Hapgood’s jealousy prevented <mask> from enjoying the sexual freedom that he enjoyed for himself. Her one exception to this restrictive marriage was Hapgood’s support of her writing, and <mask>’s ability to use her writing as a means to voice her own discontent and frustration. <mask> died in Richmond, New Hampshire. Bibliography

Novels
 The Chap-Book (1896)
 The Forerunner (1903)
 The Folly of Others (1906)
 Eternal Spring (1906)
 The Bond (1908)
 Proud Lady (1923)
 Harry: A Portrait (1923)

Plays
 Constancy (1914)
 Enemies (1916)
 Two Sons (1916)
 Winter’s Night (1928)

Further reading
 The Modern World of Neith Boyce : Autobiography and Diaries, edited by Carol DeBoer-Langworthy. University of New Mexico Press, 2003. References

Sources
Yale University Library - Guide to the Hapgood Family Papers

External links

 Website of Carol DeBoer-Langworthy, editor of The Modern World of Neith Boyce

1872 births
1951 deaths
20th-century American novelists
20th-century American dramatists and playwrights
People from Franklin, Indiana
American women novelists
20th-century American women writers
Progressive Era in the United States
People from Provincetown, Massachusetts

masks:
Neith Boyce
Boyce
Henry Harrison Boyce
Neith Boyce
Boyce
Boyce
Nh Boyce
Henry Harrison Boyce
Mary Boyce
Henry Harrison Boyce
Mary Boyce
Mary Boyce
Mary Boyceh
Boyce
Boyce
Boyce
Boyce
Boyce
Boyce
Boyce
Boyce
Boyce
Boyce
Neith
Boyce
Neith
Boyce
Neith
Boyce
Boyce
Boyce
Boyce
Boyce
Boyce


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<mask> (born August 9, 1959), professionally known by his stage name <mask>, is an American rapper, singer, songwriter, record/film producer, b-boy, DJ, public speaker and minister. He is the first commercially successful rapper and the first to sign with a major record label. "The Breaks", a single from his 1980 self-titled debut album, is the first certified gold record rap song. Throughout his career he has released 15 albums and is currently an ordained minister. Early life, family and education
Walker was raised in Harlem, Manhattan, New York City. He attended CCNY and Nyack College, studying communications/film and ministry. Career
In 1979, at the age of twenty, <mask> became the first rapper to be signed by a major label, Mercury, which released "Christmas Rappin'".It sold over 400,000 copies, becoming one of the first commercially successful hip hop singles. Its follow-up, "The Breaks", sold over half a million copies. He released ten albums over the next eleven years. His first album was Kurtis Blow, while his second was the Top 40 pop album Deuce. Party Time featured a fusion of rap and go-go. Ego Trip included the hits: "8 Million Stories", "AJ Scratch", and "Basketball". His 1985 album, America, garnered praise for its title track's music video.From this album, the song "If I Ruled the World" became a Top 5 hit on Billboard's R&B chart. By 1983, he moved into production. He lived in Co-op City in the Bronx in the mid-1980s. Besides his own work, <mask> has been responsible for hits by The Fat Boys and Run DMC. Run began his career billed as 'The Son of Kurtis Blow'. Lovebug Starski, Full Force, Russell Simmons and Wyclef Jean all have been produced by, or collaborated with, Walker. Former label mates René & Angela had their R&B chart topping debut "Save Your Love (For #1)" was gift rapped by Kurtis.Walker produced, with Phillip Jones as co-producer and Dexter Scott King as executive producer, the song "King Holiday", celebrating the first Martin Luther King Jr. Day, a U.S. federal holiday inaugurated in January 1986. He performed as an actor and in music coordination in several feature films including Leon Kennedy’s Knights of the City and the hip hop film Krush Groove. He was host and co-producer for Das Leben Amerikanischer Gangs (1995), an international film production focusing on the West Coast gang scene. As host and associate producer for Miramax’s Rhyme and Reason, he gave an informative account of the status of hip hop, while he participated in the three volume record release The History Of Rap for Rhino Records in 1998. <mask> also co produced “Slippin, Ten Years With The Bloods” and won praises from Showtime for being the most viewed documentary in 2003. <mask> was recently a producer for the Netflix show, "The Get Down". <mask> has spoken out emphatically against racism.He was an active participant in the Artists United Against Apartheid record “Sun City”. He worked with Rev. Jesse Jackson's Operation Push and National Rainbow Coalition in Chicago and with Rev. Al Sharpton's Action Network in New York City. In 1995, he started working on-air in radio, Power 106, the #1 CHR radio station in Southern California. He hosted The Old School Show on Sunday nights, featuring hits from the past. He also worked for Sirius Satellite Radio on the Classic Old School Hip Hop station Backspin (Channel 46) from 2000-2004.Beginning in 1996, <mask> <mask> was featured in a hip hop display at the Rock and Roll Hall of Fame. In the same year, rapper Nas debuted at #53 on the Billboard Hot 100 with his version of <mask>'s "If I Ruled The World". The song went on to double platinum. In 1998, the group Next released "Too Close", in which the music of "Christmas Rappin'" was sampled. ASCAP honored Kurt and Next at a gala affair on May 26, 1999 for having the number one song for 8 months. In 2002, he traveled to the Middle East to tour the Armed Forces bases performing seventeen shows for the troops. In December 2014, Kurt was the Guest MC for the world premiere of The Hip Hop Nutcracker at New Jersey Performing Arts Center, a well received update of Tchaikovsky's holiday classic.A national tour of the show was scheduled to launch in November 2015 with <mask> <mask> reprising his role as Guest MC opening the show. The show has presently been up and running with 50-60 sold-out performances during the holidays. In 2016 <mask> was unanimously elected as Chairman of The Universal Hip Hop Museum. The museum is slated to open in 2023 in the Bronx point section of NYC. In 2017, <mask> formed "The Bboy Committee", a group of 1st generation Bboys/Girls, who created the style of dance called Bboying, Rocking, and Break Dancing. The members of the Bboy Committee are as follows: Trixie (Lauree Myers),RIP Wallace D, Dancing Doug (Douglas Colon), A1 Bboy Sasa, DJ Clark Kent (Tyrone Smith), The Legendary Smith Twins, The Zulu Kings and Cholly Rock (Anthony G. Horne), OG BGirl - Darlene Rivers, "Puppet" (William "Billy Bill" Waring), Darryl Solomon (The Mad Hatter), <mask> <mask>, Lil Cesar Rivas, and Shabba-Doo. The committee is dedicated to the facilitation of the Bboy section of the Universal Hip Hop Museum.<mask> became an ordained minister on August 16, 2009. As the founder of The Hip Hop Church in Harlem, Kurtis serves as rapper, DJ, worship leader and licensed minister. In 2016, <mask> <mask> appeared in a documentary on the evolution of hip hop, Hip-Hop Evolution. Hosted by Canadian rapper and broadcaster Shad, the series profiled the history of hip-hop music through interviews with many of the genre's leading cultural figures. The series was produced by Russell Peters, Scot McFadyen, Sam Dunn and Nelson George. It won the 2016 Peabody Award, and the 2017 International Emmy Award for Best Arts Programming. The series has been broadcast on Netflix.Discography

Studio albums

Other albums
 <mask> <mask> Presents: Hip Hop Ministry (2007, EMI Gospel)
 Just Do It (2008, Krush Groove/Trinity/B4 Ent.) (with The Trinity)
 Father, Son, and Holy Ghost (2009, Krush Groove/Trinity/B4 Ent.) (with The Trinity)
 30th Anniversary of The Breaks CD (2010, Krush Records)

Compilation albums
 The Breaks (1986, Polygram)
 The Best of Kurtis Blow (1994, Mercury)
 Best of... Rappin''' (2002, Spectrum Music)
 20th Century Masters - The Millennium Collection: The Best of Kurtis Blow'' (2003, Mercury)

Singles and EPs

References

External links

 <mask> <mask> on AllMusic

1959 births
Living people
African-American Christians
African-American record producers
African-American male rappers
American beatboxers
Record producers from New York (state)
American boogie musicians
Nyack College alumni
People from Harlem
People from Co-op City, Bronx
Rappers from Manhattan
21st-century American rappers
21st-century American male musicians
Mercury Records artists
Polydor Records artists
21st-century African-American musicians
20th-century African-American people

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