title: Edwin McMillan

texts: and <mask>, who was appointed to the faculty at Berkeley as an instructor in 1935, soon became involved in the effort. His skill with instrumentation came to the fore, and he contributed improvements to the cyclotron. In particular, he helped develop the process of "shimming", adjusting the cyclotron to produce a homogeneous magnetic field. Working with M. Stanley Livingston, he discovered oxygen-15, an isotope of oxygen that emits positrons. To produce it, they bombarded nitrogen gas with deuterons. This was mixed with hydrogen and oxygen to produce water, which was then collected with hygroscopic calcium chloride. Radioactivity was found concentrated in it, proving that it was in the oxygen.This was followed by an investigation of the absorption of gamma rays produced by bombarding fluorine with protons. In 1935, <mask>, Lawrence and Robert Thornton carried out cyclotron experiments with deuteron beams that produced a series of unexpected results. Deuterons fused with a target nuclei, transmuting the target to a heavier isotope while ejecting a proton. Their experiments indicated a nuclear interaction at lower energies than would be expected from a simple calculation of the Coulomb barrier between a deuteron and a target nucleus. Berkeley theoretical physicist Robert Oppenheimer and his graduate student Melba Phillips developed the Oppenheimer–Phillips process to explain the phenomenon. <mask> became an assistant professor in 1936, and an associate professor in 1941. With Samuel Ruben, he also discovered the isotope beryllium-10 in

masks: McMillan McMillan McMillan


title: Edwin McMillan

type: original

texts:
 1940.This was both interesting and difficult to isolate due to its extraordinarily long half-life, about 1.39 million years. Discovery of neptunium
Following the discovery of nuclear fission in uranium by Otto Hahn and Fritz Strassmann in 1939, <mask> began experimenting with uranium. He bombarded it with neutrons produced in the Radiation Laboratory's  cyclotron through bombarding beryllium with deuterons. In addition to the nuclear fission products reported by Hahn and Strassmann, they detected two unusual radioactive isotopes, one with a half-life of about 2.3 days, and the other with one of around 23 minutes. <mask> identified the short-lived isotope as uranium-239, which had been reported by Hahn and Strassmann. <mask> suspected that the other was an isotope of a new, undiscovered element, with an atomic number of 93. At the time it was believed that element 93 would have similar chemistry to rhenium, so he began working with Emilio Segrè, an expert on that element from his discovery of its homolog technetium.Both scientists began their work using the prevailing theory, but Segrè rapidly determined that <mask>'s sample was not at all similar to rhenium. Instead, when he reacted it with hydrogen fluoride (HF) with a strong oxidizing agent present, it behaved like members of the rare-earth elements. Since these comprise a large percentage of fission products, Segrè and <mask> decided that the half-life must have been simply another fission product, titling the article "An Unsuccessful Search for Transuranium Elements". <mask> realized

masks: McMillan McMillan McMillan McMillan McMillan McMillan


title: Edwin McMillan

texts:
 that his 1939 work with Segrè had failed to test the chemical reactions of the radioactive source with sufficient rigor. In a new experiment, <mask> tried subjecting the unknown substance to HF in the presence of a reducing agent, something he had not done before. This reaction resulted in the sample precipitating with the HF, an action that definitively ruled out the possibility that the unknown substance was a rare earth. In May 1940, Philip Abelson from the Carnegie Institute in Washington, DC, who had independently also attempted to separate the isotope with the 2.3-day half-life, visited Berkeley for a short vacation, and they began to collaborate.Abelson observed that the isotope with the 2.3-day half-life did not have chemistry like any known element, but was more similar to uranium than a rare earth. This allowed the source to be isolated and later, in 1945, led to the classification of the actinide series. As a final step, <mask> and Abelson prepared a much larger sample of bombarded uranium that had a prominent 23-minute half-life from 239U and demonstrated conclusively that the unknown 2.3-day half-life increased in strength in concert with a decrease in the 23-minute activity through the following reaction:
{}^{238}_{92}U + {}^{1}_{0}n -> {}^{239}_{92}U ->[\beta^-][23\ \ce{min}] \overset{neptunium}{^{239}_{93}Np} ->[\beta^-][2.355\ \ce{days}] {}^{239}_{94}Pu

This proved that the unknown radioactive source originated from the decay of uranium and, coupled with the previous observation that the source was different chemically

masks: McMillan McMillan


title: Edwin McMillan

texts:
 from all known elements, proved beyond all doubt that a new element had been discovered. <mask> and Abelson published their results in an article entitled Radioactive Element 93 in the Physical Review on May 27, 1940. They did not propose a name for the element in the article, but they soon decided on "neptunium", since uranium had been named after the planet Uranus, and Neptune is the next planet beyond in our solar system. <mask> suddenly departed at this point, leaving Glenn Seaborg to pursue this line of research, which led to the second transuranium element, plutonium. In 1951, McMillan shared the Nobel Prize in Chemistry with Seaborg "for their discoveries in the chemistry of the transuranium elements".World War II
<mask>'s abrupt departure was caused by the outbreak of World War II in Europe. In November 1940, he began working at the MIT Radiation Laboratory in Cambridge, Massachusetts, where he participated in the development and testing of airborne microwave radar during World War II. He conducted tests in April 1941 with the radar operating from an old Douglas B-18 Bolo medium bomber. Flying over the Naval Submarine Base New London with Luis Walter Alvarez and Air Chief Marshal Hugh Dowding, they showed that the radar was able to detect the conning tower of a partly submerged submarine. <mask> married Elsie Walford Blumer in New Haven, Connecticut, on June 7, 1941. Her father was George Blumer, Dean Emeritus of the Yale Medical School. Her sister Mary was Lawrence's wife.The <mask>s had three children: Ann Bradford, David

masks: McMillan McMillan McMillan McMillan McMillan


title: Edwin McMillan

texts: Mattison and Stephen Walker. <mask> joined the Navy Radio and Sound Laboratory  near San Diego in August 1941. There he worked on a device called a polyscope. The idea, which came from Lawrence, was to use sonar to build up a visual image of the surrounding water. This proved to be far more difficult that doing so with radar, because of objects in the water and variations in water temperature that caused variations in the speed of sound. The polyscope proved to be impractical, and was abandoned. He also, however, developed a sonar training device for submariners, for which he received a patent.Oppenheimer recruited <mask> to join the Manhattan Project, the wartime effort to create atomic bombs, in September 1942. Initially, he commuted back and forth between San Diego, where his family was, and Berkeley. In November he accompanied Oppenheimer on a trip to New Mexico on which the Los Alamos Ranch School was selected as the site of the project's weapons research laboratory, which became the Los Alamos Laboratory. With Oppenheimer and John H. Manley, he drew up the specifications for the new laboratory's technical buildings. He recruited personnel for the laboratory, including Richard Feynman and Robert R. Wilson, established the test area known as the Anchor Ranch, and scoured the country for technical equipment from machine tools to a cyclotron. As the laboratory took shape, <mask> became deputy head of the gun-type nuclear weapon effort under Navy Captain William S. Parsons, an ordnance expert. The plutonium gun, codenamed Thin Man,


title: Edwin McMillan

texts: needed a muzzle velocity of at least  per second, which they hoped to achieve with a modified Navy 3-inch antiaircraft gun.The alternative was to build an implosion-type nuclear weapon. <mask> took an early interest in this, watching tests of this concept conducted by Seth Neddermeyer. The results were not encouraging. Simple explosions resulted in distorted shapes. John von Neumann looked at the implosion program in September 1943, and proposed a radical solution involving explosive lenses. This would require expertise in explosives, and <mask> urged Oppenheimer to bring in George Kistiakowsky. Kistiakowsky joined the laboratory on February 16, 1944, and Parsons's E (Explosives) Division was divided in two, with <mask> as deputy for the gun and Kistiakowsky as deputy for implosion.<mask> heard disturbing news in April 1944, and drove out to Pajarito Canyon to confer with Segrè. Segrè's group had tested samples of plutonium bred in the Manhattan Project's nuclear reactors and found that it contained  quantities of plutonium-240, an isotope that caused spontaneous fission, making Thin Man impractical. In July 1944, Oppenheimer reorganised the laboratory to make an all-out effort on implosion. <mask> remained in charge of the gun-type weapon, which would now be used only with uranium-235. This being the case, Thin Man was replaced by a new, scaled-back design called Little Boy. <mask> was also involved with the implosion as the head of the G-3 Group within the G (Gadget) Division, which was responsible for obtaining measurements and


title: Edwin McMillan

texts:
 timings on implosion, and served as the laboratory's liaison with Project Camel, the aerial test program being carried out by Caltech. On July 16, 1945, he was present at the Trinity nuclear test, when the first implosion bomb was successfully detonated.Later life
In June 1945, <mask>'s thoughts began to return to cyclotrons. Over time they had gotten larger and larger. A 184-inch cyclotron was under construction at the Radiation Laboratory, but he realised that a more efficient use could be made of the energy used to accelerate particles. By varying the magnetic field used, the particles could be made to move in stable orbits, and higher energies achieved with the same energy input. He dubbed this the "phase stability principle", and the new design a "synchrotron". Unknown to <mask>, the synchrotron principle had already been invented by Vladimir Veksler, who had published his proposal in 1944. <mask> became aware of Veksler's paper in October 1945.The two began corresponding, and eventually became friends. In 1963 they shared the Atoms for Peace Award for the invention of the synchrotron. In 1964, <mask> received the Golden Plate Award of the American Academy of Achievement. The phase stability principle was tested with the old 37-inch cyclotron at Berkeley after <mask> returned to the Radiation Laboratory in September 1945. When it was found to work, the 184-inch cyclotron was similarly modified. He became a full professor in 1946. In 1954 he was appointed associate director of the Radiation Laboratory.He was promoted to deputy


title: Edwin McMillan

texts:
 director in 1958. On the death of Lawrence that year, he became director, and he stayed in that position until his retirement in 1973. The laboratory was renamed the Lawrence Radiation Laboratory in 1958. In 1970, it split into the Lawrence Berkeley Laboratory and the Lawrence Livermore Laboratory, and <mask> became director of the former. <mask> was elected to the National Academy of Sciences in 1947, serving as its chairman from 1968 to 1971. He served on the influential General Advisory Committee (GAC) of the Atomic Energy Commission from 1954 to 1958, and the Commission on High Energy Physics of the International Union of Pure and Applied Physics from 1960 to 1967. After his retirement from the faculty at Berkeley in 1974, he spent 1974–75 at CERN, where he worked on the g minus 2 experiment to measure the magnetic moment of the muon.He was awarded the National Medal of Science in 1990. <mask> suffered the first of a series of strokes in 1984. He died at his home in El Cerrito, California, from complications from diabetes on September 7, 1991. He was survived by his wife and three children. His gold Nobel Prize medal is in the National Museum of American History, a division of The Smithsonian, in Washington DC. Publications
<mask>, E. M. "Focusing in Linear Accelerators", University of California Radiation Laboratory, Lawrence Berkeley National Laboratory, United States Department of Energy (through predecessor agency the Atomic Energy Commission), (August 24, 1950). <mask>, E. M."A Thick Target for Synchrotrons and Betatrons",


title: Edwin McMillan

texts:
 University of California Radiation Laboratory, Lawrence Berkeley National Laboratory, United States Department of Energy (through predecessor agency the Atomic Energy Commission), (September 19, 1950).<mask>, E. M."The Transuranium Elements: Early History (Nobel Lecture)", University of California Radiation Laboratory, Lawrence Berkeley National Laboratory, United States Department of Energy (through predecessor agency the Atomic Energy Commission), (December 12, 1951). <mask>, E. M."Notes on Quadrupole Focusing", University of California Radiation Laboratory, Lawrence Berkeley National Laboratory, United States Department of Energy (through predecessor agency the Atomic Energy Commission), (February 9, 1956). <mask>, E. M."Some Thoughts on Stability in Nonlinear Periodic Focusing Systems", University of California Radiation Laboratory, Lawrence Berkeley National Laboratory, United States Department of Energy (through predecessor agency the Atomic Energy Commission), (September 5, 1967). Notes

References

External links
 Audio lecture by <mask> at Los Alamos National Laboratory Voices of the Manhattan Project
 Audio lecture by <mask> at Los Alamos National Laboratory Voices of the Manhattan Project
 McMillan's  Nobel Lecture: The Transuranium Elements: Early History
  including the Nobel Lecture on December 12, 1951 The Transuranium Elements: Early History

1907 births
1991 deaths
20th-century American chemists
American Nobel laureates
California Institute of Technology alumni
Manhattan Project people
People from Los Alamos, New

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McMillan
McMillan
Edwin McMillan
Elsie McMillan


title: Geraint Watkins

texts:
<mask> (born 5 February 1951) is a Welsh singer, songwriter, rock and roll pianist and accordionist. He has backed many notable artists, including Nick Lowe, Dave Edmunds, Van Morrison, Mark Knopfler, Paul McCartney, Roy St. John, Shakin' Stevens and most recently Status Quo. He has also pursued a solo career and issued a number of albums under his own name, the most recent of which, Rush of Blood, was released in September 2019. Biography
<mask> was born in Abertridwr, near Caerphilly, South Wales. After time in the early 1970s at Portsmouth Art College, he returned to Cardiff and played with Red Beans And Rice and Juice on the Loose. The band, Red Beans And Rice, attracted attention and moved to London to further their career. When they disbanded <mask> played solo performances in London's pubs and with various bands, such as Southside United (with which he recorded an album), the Cable Layers, Klondike Pete and the Huskies, the band of Southend's, Micky Jupp on the 'Be Stiff Route 78' tour.He went on to record an album, <mask> <mask> & The Dominators (1979), produced by Andy Fairweather Low. Session work followed: producer Stuart Colman recruited him for what became hit records for Shakin' Stevens, also he was recording and/or performing with Dr. Feelgood, Rory Gallagher, Andy Fairweather Low, The Fabulous Thunderbirds, The Blues Band, Box of Frogs, Stray Cats, Carl Perkins, Crazy Cavan and the Rhythm Rockers and Eric Clapton amongst others. He was a member of the star-studded Willie & the Poor Boys

masks:
Geraint Meurig Vaughan Watkins
Watkins
Watkins
Geraint
Watkins


title: Geraint Watkins

texts: alongside Bill Wyman and other Rolling Stones, taking lead vocals on two numbers. Inbetween sessions, the 1980s and beyond found <mask> playing accordion and piano with The Balham Alligators, a band, of which he was a founding member, that has helped to keep the music of Louisiana alive in London's pubs. Throughout the 1980s he also was a mainstay in Dave Edmunds's band, both recording and touring with him. Between 1984 and 1989 <mask> played piano and accordion on five records of the Dutch band Normaal. He contributed vocals, piano and accordion to Klondike Pete and the Huskies' 1981 album "Some of the Fellers" and appears, as Lightning Wanson G, on their 2010 album "Who Axed You".In recent years <mask> has found time to work with Bill Wyman's Rhythm Kings; contributing to Nick Lowe albums, The Impossible Bird (1994), Dig My Mood (1998), The Convincer (2001), Untouched Takeaway (2004) and At My Age (2007); and to Van Morrison albums, Back on Top (1999), Down the Road (2002), Pay the Devil (2006) and Keep It Simple (2008). As well as the early vinyl LP with The Dominators, <mask> has released four solo albums <mask> - Bold As Love (1997), Dial W For Watkins (2004), In A Bad Mood (2008) and Moustique (2014). AllMusic's Stephen Thomas Erlewine said of Dial W For Watkins, "It's slight on the surface – the love songs are sweet and short, there are lots of ragged edges and lots of jokes – but that's its appeal: it's warm, friendly, engaging music, perfect for a relaxing evening at home with old friends." Kerry

masks: Watkins Watkins Watkins Watkins Watkins


title: Geraint Watkins

texts: Doole of Exclaim! called it "an unassuming but delightful effort." Jason MacNeil of PopMatters suggested that <mask>' proficiency in a multitude of music genres "is what makes this album so bloody special." Billboard contributor Paul Sexton wrote that In a Bad Mood "displays <mask>' love for vintage R&B but also has more surprising sorties into chanson and cajun."Sexton ranked it as the number one album of 2008 on his year-end list; Billboard deputy global editor Tom Ferguson listed the album at number two. In 2009 and 2011, <mask> toured with Bill Wyman's Rhythm Kings as keyboard and accordion player and singer. He toured with Peter Green & Friends as a keyboard player in 2010. <mask> also toured with, and opened for, Nick Lowe, as a keyboardist. In 2014 he played accordion on Status Quo's Aquostic (Stripped Bare) album. This was also featured, on 22 October 2014, as a live concert from the Roundhouse on BBC Radio 2 and on BBC television via the red button. <mask> played with the band on the subsequent UK tour.In September 2016 he performed, as part of the Aquostic line-up, at BBC Radio 2's Live in Hyde Park from Hyde Park, London. As a songwriter, <mask> had had his compositions covered by Don McLean, Pokey LaFarge, Dave Edmunds, NRBQ, Pearl Harbor, and the Holmes Brothers amongst others. <mask> maintains his own Facebook page, where he frequently posts intimate musical performances. A solo studio album, Rush of Blood, recorded in collaboration with Basement Jaxx's Simon Ratcliffe as producer, was released

masks: Watkins Watkins Watkins Watkins Watkins Geraint Watkins


title: Aimee Mann

texts:
<mask> is an American singer-songwriter. Over the course of four decades, she has released more than a dozen albums. <mask> was born in Richmond, Virginia, and studied at Berklee College of Music in Boston, Massachusetts. In the 1980s, after playing with the Young Snakes and Ministry, she co-founded the new wave band 'Til Tuesday and wrote their top-ten single "Voices Carry" (1985). The band released three albums and disbanded in 1990 when <mask> left to pursue a solo career. <mask> released her first solo album, Whatever, in 1993, followed by I'm With Stupid in 1995. They received positive reviews but low sales.<mask> achieved wider recognition when she recorded songs for the soundtrack to the Paul Thomas Anderson film Magnolia (1999), earning nominations for Academy Award for Best Original Song and Grammy Award for Best Female Pop Vocal. After <mask>'s record company Geffen refused to release her third solo album, Bachelor No. 2, <mask> self-released it under her own label, SuperEgo Records, in 2000. She has released seven albums since. She has won two Grammy Awards, including Best Folk Album for Mental Illness (2017), and was named one of the ten greatest living songwriters by NPR in 2006. Early life

<mask>

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Aimee Elizabeth Mann
Mann
Mann
Mann
Mann
Mann
Mann
Mann


title: Aimee Mann

texts: was born outside Richmond, Virginia, in 1960. When she was three, her mother had an affair and became pregnant, and her parents divorced.<mask> was kidnapped by her mother and her new boyfriend and taken to Europe, where they traveled. Her father hired a private detective, who brought her back from England a year later to a new stepmother and two stepbrothers. <mask> did not see her mother again until she was 14. <mask> believes the episode gave her post-traumatic stress disorder and anxiety around travelling later in life. <mask> grew up in Bon Air, Virginia, attended Midlothian High School in Chesterfield County, and graduated from Open High School in Richmond. When <mask> was 12, she told her family she wanted to learn to play the bass guitar. Her family ridiculed her, and she did not take up the instrument until later: "When I grew up, I was in charge of my own life.I became serious about music. I finally learned how to play bass. What they thought didn't matter." She said she learnt to play her brother's guitar when she was confined to bed with glandular fever at the age of 12. As a teenager, <mask> enjoyed David Bowie and Iggy Pop, and found punk and new wave music inspiring. She said: "[It] was so

masks: Mann Mann Mann Mann Mann Mann


title: Aimee Mann

texts:
 interesting, so inventive – literally do whatever you want. That Patti Smith was out there and people were accepting her?Oh my God, there’s a way out." Feeling she did not fit in the "normal world", <mask> enrolled in Berklee College of Music in Boston, Massachusetts, in 1978. She dropped out after 18 months and joined the Boston punk band the Young Snakes. She was unhappy in the band, saying the other members objected to her writing love songs or "any songs that had melody". She joined the industrial metal band Ministry, which she said helped her learn to write songs efficiently. Career

1980s: 'Til Tuesday

In 1983, <mask> founded the new wave band 'Til Tuesday in Boston with Berklee classmate and boyfriend Michael Hausman. They released Voices Carry, their debut album, in 1985.The single "Voices Carry" reached number eight on the Billboard Hot 100 and won that year's MTV Video Music Award for Best New Artist. According to <mask>, "Voices Carry" was one of the first songs she wrote. 'Til Tuesday released Welcome Home, their second album, the following year. <mask> sang vocals with Geddy Lee on the 1987 single "Time Stand Still" by Rush, and appeared in the music video. 'Til Tuesday released their third and

masks: Mann Mann Mann Mann


title: Aimee Mann

texts:
 final album, Everything's Different Now, in 1988, and broke up in 1990 when <mask> left to start her solo career. She said in 2018: "['Til Tuesday] were sort of doing, like, post-new-wave dance-pop stuff ... I started to feel like it was not really my thing.Acoustic guitar music was what I was more influenced by and what came naturally to me." 1990s: Solo beginnings and Magnolia
<mask> developed her first solo albums with producer and former 'Til Tuesday bandmate Jon Brion. Her debut solo album, Whatever, was released in 1993 on the independent label Imago. After she finished her second album, I'm With Stupid, Imago encountered financial problems; they eventually sold the album to Geffen, who signed <mask> in 1994 and released I'm With Stupid in 1995. According to Pitchfork, <mask>'s first two solo albums showed that she was "a witty, self-possessed songwriter", but they did not meet sales expectations, with sales "in the low six figures". <mask> began to be seen as "an 80s pop casualty" who was "approaching has-been status". <mask> received wider recognition after she contributed songs to the 1999 film Magnolia.Her music had inspired the film; director Paul Thomas Anderson said he "sat down to write an


title: Aimee Mann

texts:
 adaptation of <mask> <mask> songs". The film features dialogue taken from <mask>'s lyrics and a sequence in which the cast sing her song "Wise Up". The Magnolia soundtrack album was eventually certified gold. The song "Save Me" was nominated for an Academy Award for Best Original Song and a Grammy Award for Best Female Pop Vocal; <mask> performed it at the 72nd Academy Awards. <mask> later said the song "really gave a blood transfusion to my career. But it wasn’t like I went from playing to five people to 5,000 people. It was just a real influx of energy."2000—2004: Bachelor No. 2 and label independence
Geffen refused to release <mask>'s third album, Bachelor No. 2, feeling it contained no hit singles. In response, <mask> sold homemade EPs of her music on tour, a move she described as a "DIY fuck-you-record-company-I'm-selling-it-myself" gesture. When Geffen gave <mask> the opportunity to leave her record contract, she took it; she said later: "I could not have gotten out of there fast enough." In 2000, <mask> and her manager, former 'Til Tuesday bandmate Michael Hausman, formed their own label, SuperEgo Records, and bought the Bachelor No. 2 masters from Geffen.<mask> sold 25,000 copies via mail order from her

masks: Aimee Mann Mann Mann Mann Mann Mann Mann Mann Mann


title: Aimee Mann

texts:
 website, a large amount for an independent artist. After she secured a distribution deal, Bachelor No. 2 sold more than 200,000 copies, outperforming I'm With Stupid. Pitchfork described this as a "decisive victory"; a year earlier, Sony employee Gail Marowitz had predicted that <mask> would make more money selling 70,000 albums independently than by selling 300,000 on a major label. In 2000, <mask> also formed the Acoustic Vaudeville project, a mixture of music and comedy, with her husband, the songwriter Michael Penn. Among the comedians joining them for shows were Janeane Garofalo, Patton Oswalt and David Cross. In 2001, <mask> sued Universal Music over the release of a greatest-hits compilation, The Ultimate Collection, which she had not authorized and considered "substandard and misleading".She was also a judge at the inaugural Annual Independent Music Awards, a prize promoting independent musicians. She also judged the 2011 competition. In 2002, <mask> released her fourth solo album, Lost in Space. In 2004, she released Live at St. Ann's Warehouse, a live album and DVD recorded at a series of shows in Brooklyn, New York City. 2005—2008: The Forgotten Arm and @#%&*! Smilers
In May 2005, <mask> released The

masks: Mann Mann Mann Mann Mann


title: Aimee Mann

texts:
 Forgotten Arm, a concept album set in the 1970s about two lovers who meet at the Virginia State Fair and go on the run. The album artwork earned a Grammy Award for Best Recording Package.In October 2006, <mask> released One More Drifter in the Snow, a Christmas album featuring covers and new songs. <mask> said she did not enjoy the approach of combining Christmas songs with modern genres, and instead drew inspiration from Christmas records by Bing Crosby, Frank Sinatra, Peggy Lee and the Vince Guaraldi Trio. In 2008, <mask> released @#%&*! Smilers, with Grammy-nominated artwork by Gary Taxali. It debuted on the Billboard 200 at number 32 and on the Top Independent Albums chart at number 2. @#%&*! Smilers was met with mostly praise, with Billboard stating that it "pops with color, something that gives it an immediacy that's rare for an artist known for songs that subtly worm their way into the subconscious ... Smilers grabs a listener, never making him or her work at learning the record, as there are both big pop hooks and a rich sonic sheen."The music video for "31 Today", directed by Bobcat Goldthwait, features comedian Morgan Murphy. 2010s: Charmer, Mental Illness and the Both

In May 2011, <mask> performed


title: Aimee Mann

texts: for Barack and Michelle Obama at a poetry seminar at the White House. In 2012, she released her eighth solo album, Charmer, featuring a duet with James Mercer of the Shins. Two singles were released: "Charmer", with a music video directed by Tom Scharpling; and "Labrador," which featured actor Jon Hamm and references to <mask>'s music videos with 'Til Tuesday. In February 2013, <mask> and Ted Leo formed a duo, the Both, and performed shows in Los Angeles and San Francisco. They released an album, The Both, in April 2014. On July 22, 2013, <mask> filed a lawsuit against MediaNet Digital Inc., claiming they were distributing 120 of her songs on an expired license agreement.She attempted to claim as much as $18 million in statutory damages. <mask> settled out of court in 2015. In February 2014, <mask> appeared in "Giant Woman", an episode of Steven Universe, as the voice of the Gem fusion Opal. She reprised her role forSteven Universe: The Movie (2019); with Leo, she performed the song "Independent Together". In October 2016, <mask> released a new song, "Can't You Tell", as part of the 30 Days 30 Songs campaign in protest of presidential candidate Donald Trump. In March 2017, <mask> released her ninth solo album,

masks: Mann Mann Mann Mann Mann Mann Mann


title: Aimee Mann

texts:
 Mental Illness. It won the Grammy Award for Best Folk Album at the 60th Annual Grammy Awards.In May, <mask> and Coulton sang at the Revolution Hall of Portland, Oregon. That September, <mask> contributed a song "Everybody Bleeds" to an episode of the Netflix series Big Mouth. In January 2018, <mask> appeared in an episode of the FX series The Assassination of Gianni Versace: American Crime Story as a bar singer, performing the 1984 Cars song "Drive". In 2019, <mask> released an expanded 20th-anniversary reissue of Bachelor No. 2 for Record Store Day. 2020s: Queens of the Summer Hotel
In 2020, <mask> wrote an original song, "Big Deal", for the animated series Central Park, performed by Stanley Tucci. On November 5, 2021, she released Queens of the Summer Hotel, with songs inspired by Girl, Interrupted, the 1993 memoir by Susanna Kaysen about her time in a psychiatric hospital.<mask> had developed the songs for a musical based on the memoir with producers Barbara Broccoli and Frederick Zollo, which was canceled by the COVID-19 pandemic. Influences and musicianship
<mask> cited Leonard Cohen, Stephen Sondheim, Fiona Apple, and Jimmy Webb as artists she admires. The New York Times described <mask> as a "formalist of

masks: Mann Mann Mann Mann Mann Mann Mann Mann


title: Aimee Mann

texts:
 pop songwriting" whose "verses, choruses and bridges arrive in their proper places and melodies trace a measured, symmetrical rise and fall". In 2006, NPR named her one of the ten greatest living songwriters. Personal life
In 1997, <mask> married Michael Penn, brother of actors Sean Penn and Chris Penn. They met in 1993 while <mask> was recording her first solo album, Whatever. They live in Los Angeles.In 2002, <mask> checked into the Sierra Tucson rehab center with PTSD, severe dissociation, anxiety and depression. She was stressed by the pressure brought by the success of the Magnolia soundtrack, and was suffering from intrusive thoughts about car accidents after her tour bus was flipped by a drunk driver. In 2020, <mask> developed a nervous system disorder that gave her tinnitus, migraines, nausea and dizziness and prevented her from listening to music for a year. She believed the disorder was triggered by a combination of childhood trauma and the stress of the COVID-19 pandemic. Discography

Whatever (1993)
I'm with Stupid (1995)
Bachelor No. 2 or, the Last Remains of the Dodo (2000)
Lost in Space (2002)
The Forgotten Arm (2005)
One More Drifter in the Snow (2006)
@#%&*! Smilers (2008)
Charmer (2012)
Mental


title: Aimee Mann

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 Act
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Appearances on other artists' albums
In 1987, <mask> provided backing vocals to Inside, Matthew Sweet's debut album. The same year, she performed backing vocals to "The Far Away Nearby", a song on Cyndi Lauper's second album, True Colors. In 1987, she sang on Rush's song "Time Stand Still" on the album Hold Your Fire. The single is credited as "Rush (featuring <mask> <mask>)". In 1995, she recorded a cover version of Harry Nilsson's "One" on the album For the Love of Harry: Everybody Sings Nilsson and in 1996, "Baby Blue" on the Badfinger tribute album Come and Get It. In 1997, <mask> recorded a cover of "Nobody Does It Better", the theme song of the James Bond film The Spy Who Loved Me, on the album Shaken and Stirred: The David Arnold James Bond Project. In 1998 Mann contributed her song "Amateur" to the film Sliding Doors.In 2001, <mask> recorded covers of The Beatles' "Two of Us" with Michael Penn, and "Lucy in the Sky with Diamonds" for the soundtrack of the film I Am Sam, though only the former was featured in the film. In 2002, she contributed vocals on the song "This Far" from John Doe's album Dim Stars Bright Sky. In 2004, <mask>

masks: Mann Aimee Mann Mann Mann Mann


title: Aimee Mann

texts:
 sang on the song "That's Me Trying" from William Shatner's album Has Been (co-written and produced by Ben Folds). In 2007, she contributed vocals on the song "Unforgiven" from John Doe's album A Year in the Wilderness. In 2012, she contributed vocals to Steve Vai's album The Story of Light, on the song "No More Amsterdam". That same year, she recorded the song "Two Horses" for the soundtrack of the film Tim and Eric's Billion Dollar Movie. Her song "Wise Up" was also used for an organ-donor campaign in Ontario.She contributed vocals to the song "Bigger Than Love" on Ben Gibbard's album Former Lives. In 2013, <mask> was featured on the Ivan & Alyosha album All the Times We Had. In 2014, <mask> contributed a version of Styx's "Come Sail Away" to the Community episode "Geothermal Escapism". Film and television appearances
In 1998, <mask> <mask> made a cameo appearance in the film The Big Lebowski as a German nihilist who sacrifices her green-nail-polished right pinky toe in a kidnapping scheme. In 2002, <mask> and her band appeared as themselves in Buffy the Vampire Slayer, performing her songs "This Is How It Goes" and "Pavlov's Bell" at the Bronze. She has one line in the episode: "Man, I hate playing vampire

masks: Mann Mann Aimee Mann Mann


title: Aimee Mann

texts: towns." The latter song also appears on the Buffy soundtrack album Radio Sunnydale.Also that year, she and her band appeared on The West Wing, where they performed a cover of James Taylor's "Shed a Little Light" at a Rock the Vote concert. In 2006, <mask> appeared on an episode of the television series Love Monkey. In 2007, she contributed two original songs, "The Great Beyond" and "At the Edge of the World", for the soundtrack to Arctic Tale. In 2008, <mask> appeared in the Comedy Central series Lewis Black's Root of All Evil in a comedic interview conducted by comedian Paul F. Tompkins. In 2010, <mask> sang the opening theme song for One Tree Hill season 8 episode 10. In 2011, she appeared on the Independent Film Channel series Portlandia; in the sketch, she plays herself working as a cleaning woman, and tells Fred Armisen and Carrie Brownstein that she needs the second job to make ends meet. In 2013, <mask> had a cameo on the April 8 episode of The Daily Show in a mock appeal to preserve the "habitat" of the crab louse, in a comedy segment about pubic shaving.In 2014, <mask> voice acted on Steven Universe, providing the voice of Opal in episode "Giant Woman". On November 20, 2014, <mask> appeared with Dana


title: Aimee Mann

texts: Gould and Nick Offerman on @midnight on Comedy Central, and on March 21, 2016, <mask> made a second appearance on the show with Jonathan Coulton and Dave Hill. On August 19, 2015 <mask> appeared with the Both band member Ted Leo on Conan performing an unsolicited campaign song for 2016 presidential candidate Lincoln Chafee. In 2016, <mask> covered the Carpenters' hit 1973 single "Yesterday Once More" for episode 2 of HBO's Vinyl. In the episode, Natalie Prass cameos as the visage of Karen Carpenter, lip syncing <mask>'s cover in a car with Olivia Wilde's character during a dream sequence. In 2016, <mask> appeared as the moon in Little Big Awesome. On January 24, 2018, <mask> appeared as the character Peg Peterson on Comedy Central's Corporate in the episode "The Pain of Being Alive".She plays the part of an employee of the Hampton DeVille Company with a very desirable parking space. <mask> Versace: American Crime Story as a singer in a bar. Showrunner Ryan Murphy was insistent that <mask> be chosen when it came to casting the role but, after initially turning down the Phil Collins song in the script, <mask> instead suggested "Drive" by The Cars and sent a demo which the producers referred to as "a little piece of

masks: Mann Mann Mann Mann Mann Mann Mannianni Mann Mann


title: Panait Cerna

texts:
<mask> (; Bulgarian: Панайот Черна, Panayot Cherna, born Panayot Stanchov or <mask>; August 26 or September 25, 1881 – March 26, 1913) was a Romanian poet, philosopher, literary critic and translator. A native speaker of Bulgarian, <mask> nonetheless wrote in Romanian, and developed a traditionalist style which was connected with classicism and neoclassicism. Praised by the conservative literary society Junimea, he was promoted by its leader Titu Maiorescu, as well as by Maiorescu's disciples Mihail Dragomirescu and Simion Mehedinţi. <mask> became the group's main representative during its decline, contributing to both major Junimist magazines, Convorbiri Literare and Convorbiri Critice. He also contributed pieces to the traditionalist magazine Sămănătorul, and was briefly affiliated with other literary journals. A graduate of the University of Bucharest, <mask> completed his studies in the German Empire. There, he attended the University of Berlin and the University of Leipzig, befriending the self-exiled Romanian dramatist Ion Luca Caragiale and the literary critic Paul Zarifopol.<mask> died in Leipzig at the age of thirty-one, after a long battle with tuberculosis. Along with various love poems, <mask> <mask>'s writings also evince his intellectual pursuits. This intellectual characteristic earned him a dedicated following, but was criticized by many of his peers, who found it artificial and outdated. Biography

Early life

<mask>'s early name, rendered in Bulgarian as Панайот Станчов, was commonly transliterated into Romanian as <mask> Stanciov, Stancov, Stanciof or

masks:
Panait Cerna
Panait Staciov
Cerna
Cerna
Cerna
Cerna
Panait
Cerna
Cerna
Panait


title: Panait Cerna

texts: Stancioff. The poet's preferred name alluded to Cerna, his birthplace in Tulcea County, Northern Dobruja. <mask> <mask>'s father was an ethnic Bulgarian schoolteacher, also named Panayot Stachov (<mask> Stanciov). He settled in Cerna and married Maria Taşcu.The daughter of local peasants, she was of Aromanian or of Bulgarian origin. Shortly before Maria gave birth to their son, Romanian administration began taking over in previously Ottoman-ruled Northern Dobruja. Stanchov, who was a Bulgarian nationalist, refused to accept this change and left for the Principality of Bulgaria, leaving his family behind. Consequently, <mask> never met his father. By <mask>'s own account, his childhood was marked by acute poverty and social isolation: "[I was] told to tutor and learn in cold, unfriendly rooms. For a long time, we lived in a house on the outskirts, which was avoided by other men, since a rumor had spread that ghosts haunted its rooms. Can you imagine living in the middle of winter, without a fire on, with doors that barely close, with windows that are glued with paper?A person made of iron would still feel cold down to the bone." Although his links to Bulgarian culture were weakened by his father's departure, <mask>, who was baptized in the Bulgarian Greek Catholic Church, became fluent in Bulgarian. According to literary critic George Călinescu, he always had some difficulties conversing in Romanian, but could write it with ease. After completing primary school in his native village, he graduated from a high school in the Danube port of Brăila, then enrolled at the Faculty

masks: Panait Cerna Panait Cerna Cerna Cerna


title: Panait Cerna

texts:
 of Letters and Philosophy in Bucharest. He was also attending lectures at the Faculty of Chemistry and Physics. <mask> debuted as a poet in 1897, at the age of sixteen, when his Trecutul ("The Past")—an adaptation of a piece by Nikolaus Lenau—was published in George Coşbuc's Foaia Interesantă magazine. His first original poem, Orientale ("Orientals"), saw print two years later in the magazine Carmen.Junimea years
Soon after reaching the capital, Cerna became involved in political debates and the literary environment. These early activities are recorded in a 1904 series of articles in the student paper Tipuri şi Ticuri, where a P. Stanciov is the object of satire. By that time, he was discovered by Junimea, and began collaborating with Convorbiri Literare, a magazine led by Simion Mehedinţi. After 1903, Cerna contributed  to Sămănătorul, and his poems also appeared sporadically in other publications, including Floare Albastră and Revista Modernă. Despite ongoing financial difficulties, <mask> graduated from university in 1906. His thesis was passed with a magna cum laude qualifier. He was by then seriously ill with tuberculosis, and sought a change in climate.<mask> spent much of this period traveling through the Old Kingdom, and several times visited regions of the Southern Carpathians, in particular the area of Rucăr, the Bucegi Mountains, and the Jiu Valley. As Călinescu notes, he had bought himself a horse from a Rucăr local on credit, and failed to deliver the promised sum on time. <mask>'s love of rural life, together with what Călinescu describes as a "social

masks: Cerna Cerna Cerna Cerna


title: Panait Cerna

texts: preoccupation", made him an outspoken opponent of the way in which the authorities handled the peasant uprising of 1907. That year, as Mihail Dragomirescu parted with Mehedinţi to establish Convorbiri Critice, which advertised a Junimist agenda while standing against Convorbiri Literare, <mask> became one of his main collaborators. The group of Convorbiri Critice writers also included D. Nanu, Corneliu Moldovanu, Emil Gârleanu, I. Dragoslav and Gheorghe Vâlsan. In 1908, he decided to continue his studies in the German Empire. The decision was influenced and encouraged by Junimea and its leader Titu Maiorescu, who, as Minister of Education granted him a scholarship.Călinescu describes this as a sign of late Junimist elitism, a view which implied that all literary men should be academics. This, he argues, was one of the few areas in which Junimea still differed from Sămănătorul, which was more open to less elitist environments. Cerna visited the University of Heidelberg, but, following the advice of Maiorescu, decided in favor of the University of Berlin, where he studied Philosophy, English and German language literature (1908–1910). Around 1909, he first came into contact with the Caragiales, and, according to the dramatist's own testimony, tutored his son, the future poet Luca Caragiale, providing his "scientific education". Ion Luca Caragiale described Cerna as "a distinguished scientist and a great lover of music". The two writers met a second time in Leipzig, in 1910, when Cerna declared himself captivated by Caragiale, whom he described as "one of the richest


title: Panait Cerna

texts:
 intelligent minds to have ever been produced by our nation." Two years later, Cerna enthusiastically welcomed the literary debut of Caragiale's other son, Mateiu.Studies abroad and death
From late 1910 to early 1912, <mask> was at the University of Leipzig, where he attended courses held by the philosophers and psychologists Wilhelm Wundt, Eduard Spranger and Hans Volkelt. Wundt left an enduring impression on his Romanian student. In a letter home, Cerna described his modest appearance, which he claimed recalled that of "decrepit" Orthodox members of the Romanian Jewish community, adding: "But I do love this decrepit exterior beyond measure ..." Volkelt guided <mask>'s research in the scientific field, and coordinated his PhD thesis of 1913, Die Gedankenlyrik (German for "Contemplative Poetry"). According to Călinescu, Cerna's work stated the primacy of "natural ideas" over reasoning, and concluded that "ideas have the purpose of signaling the problematic tensions of the soul." Zarifopol wrote that Cerna was upset over having himself parted with writing poetry, and came to be preoccupied by Maiorescu's German-language dictum: In der Poesie ist der Gedanke ein verfluchtes Ding ("An idea is a damned thing when it comes to poetry"). <mask> <mask> Adamachi Award. Some of his new poems were still being published by Convorbiri Literare in 1911.<mask> <mask> died in Leipzig, shortly after receiving his diploma. Zarifopol was present when <mask> succumbed, and recorded that Maiorescu's views on poetry where preoccupied his friend even on his deathbed. The poet was buried in the

masks: Cerna Cerna Panait Cernale Panait Cerna Cerna


title: Panait Cerna

texts:
 German city, and later exhumed for burial in Bucharest's Bellu Cemetery. Literary contribution
<mask> was a traditionalist poet, listed by Călinescu among the contributors to Romanian literature whose work "steers toward classicism", as do those of Dragomirescu, Mehedinţi, Henri Sanielevici, D. Nanu, Ion Trivale, Cincinat Pavelescu, Corneliu Moldovanu, Mihail Codreanu, Alexandru Davila and George Murnu. In this account, <mask> is one in a group of "conceptual" poets, all of whom were connected with Dragomirescu. For part of his life, <mask> was also formally committed to Symbolism and the local Symbolist movement, whose aesthetic ideals he merged with his lyrical style, and sought to recover part of the Romantic legacy. He was thus known as the translator of works by Romantic poets, as well as for adopting a Messianic and Humanist perspective on life (notably present in his poems Floare şi genune, "Flower and Chasm"; Zile de durere, "Days of Sorrow"; and Plânsetul lui Adam, "Adam's Sobbing").Literary historian Tudor Vianu notes the influence exercised on <mask> and other traditionalists by Mihai Eminescu, Romania's major mid-19th-century classicist and Junimist poet. Modernist theorist Eugen Lovinescu also believes that the "matter in which [Cerna] worked" was largely "dominated by Eminescu." He also cautions that there is a major difference between the two: <mask> is an optimist, while Eminescu most often projected a pessimistic attitude. According to Zarifopol, the poet considered himself an "improved follower" of Eminescu. <mask> was also a late admirer of Lord Byron, a

masks: Cerna Cerna Cerna Cerna Cerna Cerna


title: Panait Cerna

texts: main figure of English Romanticism, and translated from his Childe Harold. One of Cerna's poems was an epic piece inspired by the Book of Genesis, where Adam confronts God. Titled Plânsetul lui Adam, it builds on themes which recalled Byron's 1821 play Cain, and constituted an interrogation of divine laws.In Plânsetul lui Adam and various other pieces, <mask> <mask> (called a "reflexive poet" by contemporary critic Ilarie Chendi) sought to reconcile poetry and philosophy, thus creating a hybrid form of conceptual poetry. Eugen Lovinescu proposed that, although praised by Cerna's contemporaries, this goal was "mediocre", and that the literature it produced "does not express and does not suggest profound spiritual states, but, on the contrary, it expresses by means of rhetorical dialectic not only that which can be expressed, but also that which can be proven." Paul Zarifopol, who notes that Cerna particularly treasured the classicist poets Friedrich Schiller, Louise-Victorine Ackermann and Jean-Marie Guyau, as well as the Parnassian Sully Prudhomme, recounted their disagreement when it came to Caragiale, whom Cerna enjoyed only for his power of "observation", but whom he argued lacked "concepts". For Zarifopol, this statement, made with "a fanatical and dogmatic pathos", evidenced a moment of "academic foolishness" in Cerna's career. Călinescu, who criticizes the poet for his difficulties with the language, describes him as "not accomplished". Elaborating on this, he states: "[Cerna is] declamatory, banal and dry in his use of metaphors, although he displays a touch of the

masks: Panait Cerna


title: Panait Cerna

texts:
 sublime here and there." Lovinescu thought many of the expressions Cerna used in his poetry to be "unacceptable", and argued that they were characterized by banality.This assessment was itself contested by Călinescu, who argued that the lyrics in questions are "actually the acceptable ones", and that the awkward wordings "are entirely lost in lyrical fluency." Among the writings forming the subject of this disagreement was <mask>'s Din depărtare ("From Far Away"), which Lovinescu believed was marked by the use of repetitive and banal poetic images:

The subject of unrequited love was one of the major ones in <mask>'s lyric poems and, Călinescu argues, it evoked his actual experience with women, as "the regret of not having lived through the great mystery of love." These pieces, the critic notes, point to the influence of classicist authors such as Eminescu, Dante Aligheri, and Giacomo Leopardi (the latter poet had also been quoted in <mask>'s Die Gedankenlyrik). One of the pieces, written from the perspective of a man who has once failed to gain the object of his affection, features the lyrics:

While rejecting <mask>'s conceptual approach, Lovinescu admired his style, for "the amplitude through which [the sentiment] is laid out in vast chimes and compact constructions of rhetorical stanzas." Such features, he concluded, surpassed "everything ever written in our country". For George Călinescu, <mask>'s "euphoric thirst for life" recalled the work of Parnassian and Symbolist author Alexandru Macedonski, but was tempered by "the mellow anemia of the phthisic." One of his

masks: Cerna Cerna Cerna Cerna Cerna


title: Panait Cerna

texts:
 better-known pieces from the series of love poems read:

<mask>'s protest over the violent repression of the 1907 revolt was lyricized in several contexts.In one such indignant piece, <mask> called on Peace not to arrive until the social issue would be solved. In Zile de durere, he appeals to the Sun to wash out the blood of peasant victims:

Legacy
<mask> <mask>'s lifetime success and literary fame made him the target of adulation among his fellow traditionalists, a camp which united various Junimea affiliates and Sămănătorul contributors. According to Călinescu, this group saw him as Romania's answer to Schiller and Percy Bysshe Shelley. Junimea saw in him one of its most important members of the early 20th century, while several historians note that he was so only because, at that stage, the literary society was declining. Mehedinţi's 1914 account of the Junimist promotion of the "original manifestations of Romanian culture" listed <mask> alongside Alexandru G. Florescu and other minor writers. Literary historian Z. Ornea argues that this evidenced not just a decline in standards, but also Mehedinţi's "tastelessness". Also according to Ornea, the association with Dragomirescu was also characteristic for the Junimist twilight, given that this circle had failed to impose "a new literary direction", and was tributary to the legacy of various traditionalist groups.At the same time, both Dragomirescu and his disciple Ion Trivale upheld him as a model to follow, equating him with the mid-19th century classicist Grigore Alexandrescu. Zarifopol deplores <mask>'s submission to

masks: Cerna Cerna Panait Cerna Cerna Cerna


title: Panait Cerna

texts:
 traditionalist and classicist goals, arguing that it eventually ruined <mask> as a poet and made him unhappy. The poet's adoption of a mainstream approach to poetry also pleased his public, and, Călinescu notes, schoolbooks of the day celebrated him as a Romanian classic while completely ignoring more controversial Symbolists such as Macedonski and Dimitrie Anghel. His contributions have helped shaped the style of 20th-century poets with traditionalist tendencies from different schools. Among them are the socialist Alexandru Toma, later known as an official poet of Communist Romania, and Sămănătorul 's Ion Sân-Giorgiu, whose career later took him through an Expressionist stage and eventually to fascist politics. Demostene Botez, another author to have been influenced by Cerna's style, dedicated his mentor a poem which read:

In his essay Din registrul ideilor gingaşe ("From the Register of Gentle Ideas"), where he satirizes the Romanian public's reception of literature, Zarifopol looks into the problems faced by Cerna in satisfying his readers. Using one of Cerna's own accounts as the basis for this analysis, he notes that a group of his young "female admirers" where unpleasantly surprised to find out that their idol was "short, pudgy, wide-necked and ruddy-faced."He writes: "the girls ... were thus in full agreement with the philosophical tradition which, since the old days, has set as a supreme ideal a mosaic of perfections that is naive and unlikely." Like Lovinescu, other advocates of modernist literature rejected most of Cerna's contributions. One of the first to have


title: Panait Cerna

texts:
 done so is Ovid Densusianu, who stated his belief that an artist's work should be separated from his life. Lovinescu, who commented on Densusianu and his thoughts on <mask>, opined that Densusianu had a tendency to reject all poets who registered popular success, and that he treated Dimitrie Anghel's work in much the same way. The poet's house in Cerna is presently a museum, dedicated in part to his memory, and also housing a permanent exhibit dedicated to the traditional arts and crafts of Tulcea County. It also features a bust of the poet. The county library in Tulcea city is named after him, as are a high school in Brăila and streets in Bucharest, Brăila, Bistriţa, Hunedoara, Lugoj and Petroşani.The local authorities in Tulcea County organize an annual Panait Cerna National Poetry and Essay Contest. Notes

References
George Călinescu, Istoria literaturii române de la origini până în prezent, Editura Minerva, Bucharest, 1986
Eugen Lovinescu, Istoria literaturii române contemporane, Editura Minerva, Bucharest, 1989. Z. Ornea, Junimea şi junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Tudor Vianu, Scriitori români, Vols. II-III, Editura Minerva, Bucharest, 1970–1971. External links

Romanian essayists
Romanian journalists
Romanian literary critics
Romanian philosophers
19th-century Romanian poets
Romanian male poets
Romanian translators
Symbolist poets
Romanian people of Bulgarian descent
Bulgarian Eastern Catholics
Romanian Greek-Catholics
People from Tulcea County
University of Bucharest alumni
Humboldt University of Berlin alumni
Leipzig University


title: Morrison Waite

texts: <mask> "Mott<mask> (November 29, 1816 – March 23, 1888) was an attorney, judge, and politician from Ohio. He served as the seventh chief justice of the United States from 1874 until his death in 1888. During his tenure, the Waite Court took a narrow interpretation of federal authority related to laws and amendments that were enacted during the Reconstruction Era to expand the rights of freedmen and protect them from attacks by white-supremacy groups such as the Ku Klux Klan. Born in Lyme, Connecticut, <mask> established a legal practice in Toledo, Ohio after graduating from Yale University. As a member of the Whig Party, <mask> won election to the Ohio Senate. An opponent of slavery, he helped establish the Ohio Republican Party. He served as a counsel in the Alabama Claims and presided over the 1873 Ohio constitutional convention.After the May 1873 death of Chief Justice Salmon P. Chase, President Ulysses S. Grant underwent a prolonged search for Chase's successor. With the backing of Secretary of the Interior Columbus Delano, Grant nominated Waite in January 1874. The nomination of the relatively obscure <mask> was poorly received by some prominent politicians, but the Senate unanimously confirmed Waite and he took office in March 1874. Despite some support for his nomination, he declined to run for president in the 1876 election, arguing that the Supreme Court should not serve as a mere stepping stone to higher office. He served on the court until his death of pneumonia in 1888. Waite did not emerge as an important intellectual force on the Supreme Court, but he was well regarded as an administrator and conciliator. He sought a balance between federal and state power and joined with most other Justices in narrowly interpreting the Reconstruction Amendments.His majority opinion in Munn v. Illinois upheld government regulation of grain elevators and railroads and influenced constitutional understandings of government regulation. He also helped establish the legal concept of corporate personhood in the United States.

masks:
Morrison Remick
" Waite
Waite
Waite
Waite


title: Morrison Waite

texts:
 However in the Civil Rights Cases he sided with a majority to strike down the Civil Rights Act of 1875, which had prohibited discrimination in access to public services, that was not restored until the Civil Rights Act of 1964. Early life and education
<mask> <mask> was born on November 29, 1816, at Lyme, Connecticut, the son of Henry Matson <mask>, an attorney, and his wife Maria Selden. His father later was appointed as a judge of the Superior Court and associate judge of the Supreme Court of Connecticut, serving 1834–1854; and appointed as chief justice of the latter from 1854–1857. <mask> had a brother Richard, with whom he later practiced law. Waite attended Bacon Academy in Colchester, Connecticut, where one of his classmates was Lyman Trumbull.He graduated from Yale University in 1837 in a class with Samuel J. Tilden, who later was the 1876 Democratic presidential nominee. As a student at Yale, Waite became a member of the Skull and Bones and Brothers in Unity societies, and was elected to the Phi Beta Kappa Society in 1837. Shortly after graduating, Waite became a law clerk for his father in 1837. Soon afterward Waite moved to Maumee, Ohio, where he studied law as an apprentice in the office of Samuel L. Young. He was admitted to the bar in 1839, and went into practice with his mentor. The law firm became prominent in business and property law. He was elected to one term as mayor of Maumee.Marriage and family
He married Amelia Champlin Warner on September 21, 1840 in Hartford, Connecticut. They had three sons together: Henry Seldon, Christopher Champlin, and Edward Tinker; and a daughter Mary Frances <mask>. Political and legal career
In 1850, Waite and his family moved to Toledo, where he set up a branch office of his law firm with Young. Waite soon came to be recognized as a leader of the state bar. When Young retired in 1856, Waite built a prosperous new firm with his brother <mask>. One of his partners in Toledo was George P. Estey, a man from New Hampshire who served as a Union Army general during the

masks:
Morrison Remick
Waite
Waite
Morrison
Waite
Richard Waite


title: Morrison Waite

texts:
 Ohioans, including Interior Secretary Columbus Delano, on January 19, 1874, Grant nominated the little-known Waite. He was notified of his nomination by a telegram.The nomination was not well received in political circles. The former Secretary of the Navy, Gideon Welles, remarked of Waite that, "It is a wonder that Grant did not pick up some old acquaintance, who was a stage driver or bartender, for the place," and the political journal The Nation, said "Mr Waite stands in the front-rank of second-rank lawyers." Nationwide sentiment, however, was relief that a non-divisive and competent choice had been made, and <mask> was confirmed unanimously as Chief Justice on January 21, 1874, receiving his commission the same day. Waite took the oaths of office on March 4, 1874. The Waite Court, 1874–1888

Chief <mask> never became a significant intellectual force on the Supreme Court. But his managerial and social skill, "especially his good humor and sensitivity to others, helped him to maintain a remarkably harmonious and productive court." During <mask>'s tenure, the Court decided some 3,470 cases.In part, the large number of cases decided and the variety of issues confronted reflected the lack of discretion the Court had at the time in hearing appeals from lower federal and state courts. However, Waite demonstrated an ability to get his brethren to reach decisions and write opinions without delay. His own work habits and output were formidable: he drafted one-third of these opinions. In matters of regulation over economic activity, he supported broad national authority, stating his opinion that federal commerce powers must "keep pace with the progress of the country." In the same vein, a primary theme in his opinions was the balance of federal and state authority. These opinions influenced Supreme Court jurisprudence well into the 20th century. In the cases that grew out of the American Civil War and Reconstruction, and especially in those that involved the interpretation of the Reconstruction Amendments, i.e.the

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Waite
Justice Waite
Waite


title: Morrison Waite

texts:
 was correct, to which Waite replied:

I think your mem. in the California Railroad Tax cases expresses with sufficient accuracy what was said before the argument began. I leave it with you to determine whether anything need be said about it in the report inasmuch as we avoided meeting the constitutional question in the decision. [4]

Hence this dictum in the headnote and the Waite reply changed the course of history and how corporations came to have the legal rights of a human person. Thomas Hartmann, in his book Unequal Protection: The Rise of Corporate Dominance and Theft of Human Rights, has the following to say:

In these two sentences (according to the conventional wisdom), Waite weakened the kind of democratic republic the original authors of the Constitution had envisioned, and set the stage for the future worldwide damage of our environmental, governmental, and cultural commons. The plutocracy that had arisen with the East India Company in 1600, and been fought back by America's Founders, had gained a tool that was to allow them, in the coming decades, to once again gain control of most of North America, and then the world.Ironically, of the 307 Fourteenth Amendment cases brought before the Supreme Court in the years between his proclamation and 1910, only 19 dealt with African Americans: 288 were suits brought by corporations seeking the rights of natural persons. Frankfurter's view of Waite
Supreme Court Justice Felix Frankfurter said of him:

He did not confine the constitution within the limits of his own experience. ... The disciplined and disinterested lawyer in him transcended the bounds of the environment within which he moved and the views of the client whom he served at the bar. Death
Chief <mask> died unexpectedly of pneumonia in 1888. This created a stir in Washington, as there had been no hint that his illness was serious. His condition had been treated as confidential, in part to avoid alarming his wife who was in California.The Washington Post devoted its entire front page to his demise. Large


title: Morrison Waite

texts:
 crowds joined in the mourning. Except for Justices Bradley and Matthews, all the justices accompanied his body on the special train that went to Toledo, Ohio. Mrs. Waite traveled by train from California, arriving just in time for the funeral. Published reports indicated the Chief Justice would be buried in a family plot he had purchased in Forest Hill Cemetery, but he was not interred there. Instead, he was buried in Woodlawn Cemetery, in Toledo, Ohio. Waite, who had financial difficulties during his service as Chief Justice, left a very small estate that was insufficient to support his widow and daughters.Members of the organized Bar in Washington and New York raised money to create two funds for the benefit of Waite's family members. On March 28, 1888 a House funeral in the Capitol building was held for the passing of <mask>. In attendance at the funeral were President Grover Cleveland, First Lady Frances Cleveland, the Cabinet, and fellow Supreme Court justices. Legacy
Waite High School (Toledo, Ohio) is named in his honor. See also
Corporate personality
Demographics of the Supreme Court of the United States
List of justices of the Supreme Court of the United States
List of United States Supreme Court justices by time in office
List of United States Supreme Court cases by the Waite Court
List of Skull and Bones members

References

Sources

Further reading

External links

 Supreme Court Historical Society:
<mask><mask>, 1874-1888. The Waite Court, 1874–1888. <mask><mask> Biography, official Supreme Court media, Oyez

1816 births
1888 deaths
19th-century American Episcopalians
19th-century American judges
19th-century American politicians
Chief Justices of the United States
Deaths from pneumonia in Washington, D.C.Mayors of places in Ohio
Ohio Constitutional Convention (1873)
Ohio lawyers
Ohio Republicans
Ohio state senators
Ohio Whigs
Politicians from Toledo, Ohio
United States federal judges appointed by Ulysses S. Grant
<mask> Court
Yale University alumni
People from Maumee, Ohio
American

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Morrison Waite
Morrison R
. Waite
Morrison R
. Waite
Waite


title: Gillis van Tilborgh

texts:
<mask> or <mask> (c. 1625 – c. 1678) was a Flemish painter who worked in various genres including portraits, 'low-life' and elegant genre paintings and paintings of picture galleries. He became the keeper of the picture collection of the governor of the Habsburg Netherlands and travelled in England where he painted group portraits. Life

<mask> was likely born in Brussels. He is believed to have studied first under his father <mask> the Elder and then with David Teniers the Younger. He became a master in the Brussels Guild of Saint Luke in 1654. He was the dean of the Guild in 1663. He was appointed in 1666 as the keeper of the painting collection of the court and castle of Tervuren, the residence of the governor of the Habsburg Netherlands.His presumed master David Teniers the Younger had previously held the same position for Archduke Leopold Wilhelm, the art loving governor of the Habsburg Netherlands. <mask> is known to have operated a sizable workshop in Brussels but none of his pupils or assistants have been identified. At around 1670 he travelled to England as is documented by a painting depicting Tichborne House and the Tichborne family giving alms (the so-called Tichborne Dole). The date and place of his death are not known but it was likely c. 1678 in Brussels. Work

General

<mask> <mask>'s works are dated from 1650 to 1671. He usually signed with the monogram 'TB'. The range of his subject matter is as diverse as that of his presumed master David Teniers the Younger and encompasses portraits, group portraits, tavern scenes, village feasts, merry companies, picture galleries and guardroom scenes.He was known for his harmonious palette, exact drawing and compositional skills. Genre scenes

In his tavern scenes he shows himself to be a close follower of Adriaen Brouwer, just as David Ryckaert III and Joos

masks:
Gillis van Tilborgh
Gillis van Tborch
Gillis van Tilborgh
Gillis van Tilborgh
Van Tilborgh
Gillis
van Tilborgh


title: Gillis van Tilborgh

texts:
 <mask>ck were. This is clearly visible in The drinker (Museum Boijmans Van Beuningen). His village scenes follow the style of David Teniers the Younger's mature period. During that period Teniers had moved away from the traditional depictions of peasants as uncultured boors towards a more idealised and elevated perception of peasants and village life. An example is the Village inn in the Hermitage. Picture galleries
He also painted 'gallery paintings' or 'picture galleries', a subject matter that had developed in Flanders in the 17th century.Gallery paintings depict large rooms in which many paintings and other precious items are displayed in elegant surroundings. The earliest works in this genre depicted art objects together with other items such as scientific instruments or peculiar natural specimens. Some gallery paintings include portraits of the owners or collectors of the art objects or artists at work. The paintings are heavy with symbolism and allegory and are a reflection of the intellectual preoccupations of the age, including the cultivation of personal virtue and the importance of connoisseurship. Van Tilborgh’s master Teniers played an important role in the development of the genre and his mid 17th century gallery paintings of the collection of Archduke Leopold Wilhelm are among the most famous examples of the genre. Other painters practicing the genre around the time of <mask>h include Wilhelm Schubert <mask>, Hieronymus Janssens, Gonzales Coques, Jacob de Formentrou and Balthasar <mask> Bossche. An example of <mask>’s gallery paintings is A Picture Gallery (c. 1660–70, Spencer Museum of Art, University of Kansas, Lawrence).It depicts a group of five elegantly dressed gentlemen in the act of appreciating several sculptures some of which they are holding. The walls of the room is covered with

masks:
van Craesbee
van Tborg
van Ehrenberg
van den
van Tborgh


title: Gillis van Tilborgh

texts:
 paintings in different genres. Some paintings, which the elegant figures already have or are about to evaluate, are resting on the floor or on a chair. At least one of the persons depicted is an artist as he is holding a brush and palette. <mask> <mask>’s gallery paintings continue the trend initiated by Teniers to remove non-art objects from the gallery. He depicts his figures in the gallery paintings to emphasise that they form part of an elite who possess privileged knowledge of art. In some of his gallery paintings he included artists at work.The genre of gallery paintings had by then become a medium to accentuate the notion that the powers of discernment associated with connoisseurship are socially superior to or more desirable than other forms of knowing. His series documenting paintings held at Tervuren castle are other examples of his contributions to the genre. Portraits

His portraits of bourgeois sitters are similar to those of Gonzales Coques, who was referred to in his time as the 'little <mask>'. Like many of his contemporaries such as Teniers and Coques, he painted allegories, an example of which is the series depicting the Five Senses (Royal Museums of Fine Arts of Belgium). Guardroom scenes
He painted at least two 'guardroom scenes', a type of genre scene that had become popular in the mid-17th century, particularly in the Dutch Republic. In Flanders there were also a few practitioners of the genre including David Teniers the Younger, Abraham Teniers, Anton Goubau, Cornelis Mahu and Jan Baptist Tijssens the Younger. A guard room scene typically depicts an interior scene with officers and soldiers engaged in merrymaking.Guardroom scenes often included mercenaries and prostitutes dividing booty, harassing captives or indulging in other forms of reprehensible activities. Van Tilborgh painted a

masks:
Gillis
van Tilborgh
van Dyck


title: Gillis van Tilborgh

texts:
 Guardroom scene (sold by Jean Moust Old Master Paintings), which depicts an officer reading a letter for four men, amidst a pile of weapons and a war standard. The armour depicted in the picture was already out of date at the time it was painted since metal armours, breast plates and helmets fell out of use from the 1620s. It is possible that in line with the moralizing intent of the genre, the armour is a reference to the vanitas motif of the transience of power and fame. The Hermitage collection includes a Guardroom scene which is ascribed to <mask>h. This scene is set in a very large guardroom with numerous people engaging in various activities. In the middle of the guardroom stand two gentlemen in what appears to be oriental dress.Collaborations
As was the custom at the time, <mask>h often collaborated with other artists. He would typically take care of the staffage while the collaborating artist painted the landscape. An example is the Family Portrait said to be of the Van der Witte Family painted together with landscape painter Jan Siberechts (Sotheby's, 5 July 2012, London, lot 134). In this composition, the artists placed their subjects on an unlikely steep rise overlooking their large estate. Another collaboration was with the landscape painter Guilliam <mask> with whom he made a View of Tervuren castle (Royal Museums of Fine Arts of Belgium). It includes a few workers and about a dozen aristocratic observers engaging in contemplative and leisurely activities. In the foreground are two people playing music.An exotic bird perched on the neck of the guitar provides through its intense colours a visual substitute for the music that cannot be heard. References

External links

Flemish Baroque painters
Flemish genre painters
Flemish landscape painters
Artists from Brussels
Painters from Brussels
1625

masks:
van Tilborg
van Tborg
van Schoor


title: William Langland

texts:
<mask> (; ;  1332 – c. 1386) is the presumed author of a work of Middle English alliterative verse generally known as Piers Plowman, an allegory with a complex variety of religious themes. The poem translated the language and concepts of the cloister into symbols and images that could be understood by a layman. Life
Little is known of <mask> himself. It seems that he was born in the West Midlands of England around 1330, according to internal evidence in Piers Plowman. The narrator in Piers Plowman receives his first vision while sleeping in the Malvern Hills (between Herefordshire and Worcestershire), which suggests some connection to the area. The dialect of the poem is also consistent with this part of the country. Piers Plowman was written c. 1377, as the character's imagination says he has followed him for "five and forty winters."A fifteenth-century note in the Dublin manuscript of Piers Plowman says that <mask> was the son of Stacy de Rokayle. <mask> is believed to have been born in Cleobury Mortimer, Shropshire, although Ledbury, Herefordshire, and Great Malvern, Worcestershire also have strong claims to being his birthplace. There is a plaque to that effect in the porch of Cleobury Mortimer's parish church, which also contains a memorial window, placed in 1875, depicting the Piers Plowman vision. Langland is thought to have been a novitiate of Woodhouse Friary located nearby. There are strong indications that <mask> died in 1385 or 1386. A note written by "Iohan but" (John But) in a fourteenth-century manuscript of the poem (Rawlinson 137) makes direct reference to the death of its author: "whan this werke was wrouyt, ere Wille myte aspie/ Deth delt him a dent and drof him to the erthe/ And is closed vnder clom" ("once this work was made, before Will was aware/ Death struck him a blow and knocked him to the ground/ And

masks:
William Langland
Langland
Langland
Langland
Langland


title: William Langland

texts: now he is buried under the soil"). According to Edith Rickert, John But himself seems to have died in 1387, indicating that <mask> died shortly before this date.Nonetheless some scholars believe <mask> was the author of a 1399 work, Richard the Redeless. Most of what is believed about <mask> has been reconstructed from Piers Plowman. The C text of the poem contains a passage in which the narrator describes himself as a "loller" or "idler" living in the Cornhill area of London, and refers to his wife and child. It also suggests that he was well above average height and made a living reciting prayers for the dead. However, the distinction between allegory and reality in Piers Plowman is blurred, and the entire passage, as Wendy Scase observes, is reminiscent of the false confession tradition in medieval literature (also seen in the Confessio Goliae and in Jean de Meun's Roman de la Rose). A similar passage in the final Passus of the B and C texts provides further ambiguous details on the poet's wife and his torments by Elde (Old Age), including baldness, gout, and impotence. This may indicate that the poet had reached middle age by the 1370s, but the accuracy of the passage is called into question by the conventional nature of the description (see, for instance, Walter Kennedy's "In Praise of Aige" and The Parliament of the Three Ages) and the fact that it occurs near the end of the poem, when Will's personal development is reaching its logical conclusion.The detailed and highly sophisticated religious knowledge displayed in the poem indicates that <mask> had some connection to the clergy, but the nature of this relationship is uncertain. The poem shows no obvious bias towards any particular group or order of churchmen, but is even-handed in its anticlericalism. This makes it difficult to align <mask> with any specific order. He

masks: Langland Langland Langland Langland Langland


title: William Langland

texts:
 is probably best regarded, John Bowers writes, as a member of "that sizable group of unbeneficed clerks who formed the radical fringe of contemporary society ... the poorly shod Will is portrayed 'y-robed in russet' traveling about the countryside, a crazed dissident showing no respect to his superiors". Malcolm Godden has proposed that he lived as an itinerant hermit, attaching himself to a patron temporarily and exchanging writing services for shelter and food. Robert Crowley's 1550 edition of Piers Plowman promoted the idea that <mask> was a follower of John Wycliffe. However, this conclusion is challenged by early Lollard appropriation of the Plowman figure (see, for instance, Pierce the Ploughman's Crede and The Plowman's Tale).It is true that <mask> and Wycliffe shared many concerns: Both questioned the value of indulgences and pilgrimages, promoted the use of the vernacular in preaching, attacked clerical corruption, and even advocated disendowment. But these topics were widely discussed throughout the late 14th century and were not specifically associated with Wycliffe until after the presumed time of <mask>'s death. Also, as Pamela Gradon observes, at no point does <mask> echo Wycliffe's characteristic teachings on the sacraments. Attribution
The attribution of Piers Plowman to <mask> rests principally on the evidence of a manuscript held at Trinity College, Dublin (MS 212). This manuscript ascribes Piers Plowman to Willielmi <mask>, son of Stacy de Rokayle, "who died in Shipton-under-Wychwood, a tenant of the Lord Spenser in the county of Oxfordshire". Other manuscripts name the author as Robert or <mask>, or Wilhelms W. (most likely shorthand for <mask> of Wychwood). The poem itself also seems to point to <mask>'s authorship.At one point, the narrator remarks: "I have lived in londe [...] my name is longe wille" (B

masks:
Langland
Langland
Langland
Langland
Langland
de Langland
William Langland
William
Langland


title: William Langland

texts:
 XV.152). This can be taken as a coded reference to the poet's name, in the style of much late-medieval literature (see, for instance, Villon's acrostics in Le Testament). However, it has also been suggested that medieval scribes and readers may have understood this line as referring to a "<mask>e", the pseudonym used by a Norfolk rebel in 1381. Although there is little other evidence, <mask>'s authorship has been widely accepted since the 1920s. It is not, however, entirely beyond dispute, as recent work by Stella Pates and C. David Benson has demonstrated. See also

Pearl Poet
Piers Plowman

References

Sources
John M. Bowers, "Piers Plowman and the Police: notes towards a history of the Wycliffite Langland," Yearbook of Langland Studies 6 (1992), pp. 1–50.Pamela Godden, "Langland and the Ideology of Dissent," Proceedings of the British Academy 66 (1980), pp. 179–205. Malcolm Gradon, The Making of Piers Plowman (London: Longman, 1990). Edith Rickert, "John But, Messenger and Maker," Modern Philology 11 (1903), pp. 107–17. Wendy Scase, Piers Plowman and the New Anticlericalism (Cambridge: Cambridge University Press, 1989). . External links

 International Piers Plowman Society Website of international scholarly organization for the study of Piers Plowman and other alliterative poems; includes a searchable database of all scholarship on these poems since 1986.Piers Plowman Electronic Archive A multi-level, hypertextually linked electronic archive of the textual tradition of all three versions of the fourteenth-century allegorical dream vision Piers Plowman. 1332 births
1386 deaths
14th-century Christian mystics
14th-century English people
14th-century English poets
14th-century English writers
Middle English poets
English Christians
English male poets
English Christian mystics
People from Malvern, Worcestershire
Roman Catholic

masks:
William Longwill
Langland


title: Dawn Landes

texts: <mask> (born December 5, 1980) is an American singer-songwriter and musician. She is originally from around Louisville, Kentucky but spent many years living and performing in Brooklyn, New York. As a recording artist she has released five full-length albums: dawn's music (2005), Fireproof (2008), Sweetheart Rodeo (2010), Bluebird (2014) and Meet Me At The River (2018) as well as five EPs: Straight Lines (2006), Two Three Four (2006), Mal Habillée (2012), Covers EP (2014) and Desert Songs (2015). In support of her releases, <mask> has toured extensively in the US, Europe and around the world, often sharing the stage with artists such as Ray Lamontagne, Feist, Andrew Bird, José González, The Weakerthans, Midlake, Suzanne Vega, and Sufjan Stevens. As an instrumentalist, she has toured as part of New York City American roots music band Hem. and Sufjan Stevens' touring band (2015-2016). A producer and engineer, she worked at Stratosphere Sound in New York City and at Philip Glass' own personal recording studio.In 2007 <mask> helped found Saltlands Studio in Brooklyn, NY. She has collaborated with contemporaries like  Justin Townes Earle, Will Oldham and Josh Ritter in the studio. Her songs have been featured in popular films and TV shows, including The Good Wife, Bored to Death, Skins, House, Gossip Girl and United States of Tara. She composed original scores for two feature films Blackbird and Familiar Strangers and wrote the end credit song for Savage Grace starring Julianne Moore. <mask> has appeared with The American Songbook Series, Boston Pops, TED and in 2012 with the NYC Ballet at the Lincoln Center for the Benjamin Millepied ballet "Two Hearts" singing a ballad entitled "The Brown Girl" as part of composer Nico Muhly's score. In June 2012, she released Mal Habillée, a collection of original French songs in the style of Ye-Ye. It features guest vocals by Matthew Caws (Nada Surf) and Tunde Adebimpe (TV on the Radio) and an interactive ebook with illustrations by the artist Danica Novgorodoff to accompany the text.In February 2014, she released

masks:
Dawn Landes
Landes
Landes
Landes


title: Dawn Landes

texts:
 Bluebird which features guest appearances by Norah Jones and others Bluebird won the 2015 14th Annual Independent Music Awards for '"Folk/Singer-Songwriter Album of the Year". On October 2, 2020, <mask> released her latest album, ROW, featuring the music from the upcoming musical of the same name, written with book-writer Daniel Goldstein, under commission from New York Voices. The album project began with a Ted Talk <mask> presented in 2015 on the musical's subject, transatlantic rower, Tori Murden McClure. The album features Will Oldham, Rachel Grimes, and Ben Sollee. The show was originally set to premiere in the summer of 2020 at the Williamstown Theatre Festival but was postponed due to the COVID-19 pandemic. The Williamstown Theatre Festival announced a partnership with Audible to release all seven of the productions originally expected to be performed during the 2020 festival. <mask> also performs as a member of all-girl trio The Bandana Splits.<mask> was once married to musician Josh Ritter, with whom she also toured. She is now married to songwriter and musician Creighton Irons, with whom she has a daughter, Callan. Discography
 Albums
 dawn's music (2005)
 Fireproof (2008)
 Sweetheart Rodeo (2010)
 Bluebird (2014)
 Meet Me at the River  (2018)
 ROW (2020)

 EPs
 Straight Lines (2005)
 Two Three Four (2006)
 Mal Habillée (2012)
 Covers EP featuring Jim James (My Morning Jacket) (2014)
 Desert Songs EP with Piers Faccini (2016)
 My Tiny Twilight (2019)

Songs in other media

 Two of her songs, "Kissing Song" and "You Alone", are featured in the 2005 film Winter Passing. "Kissing Song" was played during the ending credit. She also contributed a song (Lullaby for Tony) for the closing credits of the 2007 film Savage Grace. The song "Straight Lines" was used in an episode of the Showtime series United States of Tara. It was also used in a commercial for the Chrysler Town and Country."Straight Lines" was also used in a television advertisement for Transport for London in the UK. "Straight Lines" was also used at the end of the documental

masks: Landes Landes Landes Landes


title: Dawn Landes

texts:
 "When Harry Left Hogwarts" released as special feature in the Blu-ray version of Harry Potter and the Deathly Hallows Part 2. The song "Drive" was used in the "Under My Skin" episode of the fifth season of the Fox series House M.D. The hidden track "Won't Back Down", a cover of Tom Petty, was used for a Human Rights Campaign video supporting the repeal of Proposition 8. The track "Toy Piano" from the album Fireproof was used in an episode of Californication and Bored to Death. The track "Twilight" from the album Fireproof was used as incidental music in an episode of Holby City. The track "Mud and Stars" was used in the fifth episode of the Australian mini-series Underbelly: A Tale of Two Cities."All Dressed in White" was used in the series four premiere of Skins. <mask> has scored two feature films, Blackbird (2007) and Familiar Strangers (2008). The song "Home" was featured on the CBS series The Good Wife. References

External links
 Official homepage
 Official MySpace page
 No Depression Town and Country Featured Artist
 The Bandana Splits Facebook Page

1980 births
Living people
Musicians from Brooklyn
Musicians from Louisville, Kentucky
Glockenspiel players
American women country singers
American country singer-songwriters
American folk guitarists
American women singer-songwriters
New York University people
Record producers from New York (state)
American audio engineers
American women composers
21st-century American composers
Artists from Brooklyn
Singer-songwriters from Kentucky
Country musicians from Kentucky
Folk musicians from Kentucky
Rock musicians from Kentucky
Singer-songwriters from New York (state)
Women audio engineers
Guitarists from Kentucky
Guitarists from New York (state)
Kentucky women singers
Engineers from New York (state)
21st-century American women singers
Country musicians from New York (state)
American women record producers
21st-century American women guitarists
21st-century American guitarists
Western Vinyl artists
21st-century women composers
21st-century American singers
Yep Roc Records artists
Cooking Vinyl


title: Titus Quinctius Flamininus

texts:
<mask> (c. 228 – 174 BC) was a Roman politician and general instrumental in the Roman conquest of Greece. Family background
Flamininus belonged to the minor patrician gens Quinctia. The family had a glorious place in the early history of Rome, especially the famous hero <mask>incinnatus, but it had somewhat lost its political influence by the middle of the fourth century BC. Flamininus' great grandfather Caeso Quintius Claudus was still consul in 271, the last time a Quintius is recorded as holding a curule office before 209. <mask>, his grandfather, was flamen Dialis—the great priest of Jupiter—during the third quarter of the third century. The cognomen Flamininus borne by his descendants derives from this prestigious priesthood. Flamininus' great grandson later put an apex, the head covering of the Flamen, as a symbol of his family on a denarius he minted.Flamininus' father—also named <mask>—is not known. He had two sons: the elder, <mask>ininus, was born c.228, the younger Lucius followed soon after. At the end of the third century, the Quinctii regained a good status among the political class, as shown by Flamininus' uncle Caeso who built the Temple of Concord in 217, his younger brother that became augur in 213 at a very young age, and his distant cousin <mask> Crispinus, consul in 208. The Quinctii were for a long time allied to the Fabii, one of the most prominent gentes of the Republic. They likely owed them the rare praenomen Caeso—a feature of the early Fabii—through marriages. Likewise, Flamininus was probably married to a Fabia, as Polybius says that Quintus Fabius Buteo, who later served under him in Greece, was his wife's nephew. The Buteones were very influential at the time thanks to Marcus Fabius Buteo, the Princeps Senatus

masks:
Titus Quinctius Flamnus
Lucius Quinctius C
Lucius Quinctius
Titus
Titus Flam
Titus Quinctius


title: Titus Quinctius Flamininus

texts:
 (Samnium and Apulia), perhaps because he knew the area after his command at Tarentum.This commission continued its work in 200, but Flamininus was nevertheless appointed to another commission of three men to enrol settlers in Venusia. It is the only occurrence in Roman history of a man being member of two commissions simultaneously. Consulate and command in Greece (198–194 BC)

Consular elections (199 BC)
In 199, <mask> ran for the consulship, while he was not even 30 years old. The cursus honorum had not yet been formally organised in these years, but his bid for election still broke the tradition. He was even younger than Scipio Africanus, elected consul in 205 at 31, who had for him impressive military records and prestigious family support. In contrast, Flamininus came from a smaller family and could not boast any notable achievement during the war against Hannibal. At least two tribunes of the plebs, Marcus Fulvius and Manius Curius, vetoed his candidacy, precisely on the ground that he was too young and had not held any curule office (praetor or aedile).However, the Senate compelled them to remove their veto and allow <mask> to present himself in the elections. This anomaly led modern historians to suppose that Flamininus was backed by several powerful politicians. Early prosopographers such as Friedrich Münzer and H. H. Scullard thought that he was a member of the political faction led by the Fabii. However this view has been contested, because the Fabii were in decline after the death of Buteo and the Cunctator. <mask> was elected consul, together with the plebeian Sextus Aelius Paetus Catus, as the consul posterior, which means the Centuriate Assembly elected him in second place, after Aelius. Plutarch tells that he owed his success to

masks: Flamininus Flamininus Flamininus


title: Titus Quinctius Flamininus

texts:
 Hannibal committed suicide to avoid being taken prisoner. According to Plutarch, many senators reproached <mask> for having cruelly caused the death of an enemy who had now become harmless. Although nothing is known of him after this, <mask> seems to have died around 174. Notes

External links

 Plutarch's parallel lives – Flamininus – Loeb edn. at Bill Thayer's website (accessed 13 July 2009)
 Livy's History of Rome

Bibliography

Ancient sources

 Livy, Ab Urbe Condita (English translation by Rev. Canon Roberts on Wikisource). Plutarch, Parallel lives.Polybius, The Histories (English translation by William Roger Paton on LacusCurtius). Modern sources

 Ernst Badian, "The Family and Early Career of T. <mask> Flamininus", The Journal of Roman Studies, Vol. 61 (1971), pp. 102–111. T. Robert S. Broughton, The Magistrates of the Roman Republic, American Philological Association, 1951–1952. Michael Crawford, Roman Republican Coinage, Cambridge University Press (1974, 2001). Friedrich Münzer, Roman Aristocratic Parties and Families, translated by Thérèse Ridley, Johns Hopkins University Press, 1999 (originally published in 1920).Rene Pfeilschifter, <mask> Flamininus, Untersuchungen zur römischen Griechenlandpolitik, Göttingen, Vandenhoeck & Ruprecht, 2005. Jörg Rüpke, Anne Glock, David Richardson (translator), Fasti Sacerdotum: A Prosopography of Pagan, Jewish, and Christian Religious Officials in the City of Rome, 300 BC to AD 499, Oxford University Press, 2008. Francis X. Ryan, Rank and Participation in the Republican Senate, Stuttgart, Franz Steiner Verlag, 1998. 220s BC births
174 BC deaths
2nd-century BC Roman consuls
Ancient Roman generals
Flamininus, <mask>
Roman censors
Roman philhellenes
Roman triumphators
Second Macedonian War
Year of

masks:
Flamininus
Flamininus
Quinctius
Titus Quinctius
Titus


title: John Alexander Fuller Maitland

texts:
<mask> (7 April 1856 – 30 March 1936) was an influential British music critic and scholar from the 1880s to the 1920s. He encouraged the rediscovery of English music of the 16th and 17th centuries, particularly Henry Purcell's music and English virginal music. He also propounded the notion of an English Musical Renaissance in the second half of the 19th century, particularly praising Charles Villiers Stanford and Hubert Parry. <mask> was criticised for his failure to acknowledge the talents of the English composers Arthur Sullivan, Edward Elgar and Frederick Delius, and later it was shown that he had falsified the facts in a critique of Sullivan. He was also slow to recognise the worth of contemporary composers from mainland Europe such as Claude Debussy and Richard Strauss. Biography
<mask> was born at 90 Gloucester Place, Portman Square, London, the son of <mask> and his wife Marianne (née Noble). He attended Westminster School for three terms, but for most of his childhood he was educated privately, including musical instruction.Starting in 1875, he studied at Trinity College, Cambridge, where he was active in the Cambridge University Musical Society. There he became friends with Charles Villiers Stanford and William Barclay Squire, whose sister Charlotte he married in 1885. He had intended to follow a career in the Church of England but decided to instead to pursue a career in music. After leaving Cambridge he studied the piano with Edward Dannreuther and other aspects of music with W. S. Rockstro, who encouraged him to explore early polyphonic music. Music journalism
<mask> became a musical journalist, as a critic for

masks:
John Alexander Fuller Maitland
Fuller Maitland
Fuller Maitland
John Fuller Maitland
Fuller Maitland


title: John Alexander Fuller Maitland

texts:
 the Pall Mall Gazette from 1882, later for The Guardian (1884–89) and The Times (1889–1911). He also wrote many entries for Grove's Dictionary of Music and Musicians and was appointed editor of the second edition. A later editor of the Dictionary wrote of him, "In particular, he added an important and substantial series of articles on medieval liturgical subjects … [he] was quite traditional in his own interests: he wrote a great deal on Bach and on the more conservative German music of the 19th century, and, as an active editor of the earlier music of his own country – the complete Purcell edition, English virginal music, and (again a child of his times) English folksong – he was in the mainstream of the scholarly activity of his day."More than a hundred of his articles survive, in revised form, in the online version of Grove available in 2010. In pioneering the revival of the virginals, <mask> published an edition of the Fitzwilliam Virginal Book (1894–99). He was a member of the editorial committee of the Purcell Society, for which he edited several of Purcell's works. With his relative Lucy Broadwood, he edited the collection English County Songs (1893), and he was on the original committee of the Folk Song Society, founded in 1898. He socialized with contralto, composer, and music festival organizer Mary Augusta Wakefield. Reputation as a critic
At a time when music lovers generally admired either Richard Wagner or Johannes Brahms but not both, <mask>, according to the obituary notice in The Times, "worshipped" both Wagner and Brahms. As regards English music, he was the principal exponent of the doctrine that music had

masks:
Fuller Maitland
Fuller Maitland


title: John Alexander Fuller Maitland

texts:
 long been moribund in England until the second half of the 19th century when, he maintained, it experienced a renaissance led by his favoured composers.His book English Music in the XIXth Century is subdivided into two parts: "Book I: Before the Renaissance (1801–1850)", and "Book II: The Renaissance (1851–1900)". He used the phrase "English music" to include that of the Irish Stanford, whom, together with Hubert Parry, <mask> regarded as leading the "English musical renaissance". Stanford and Parry were both upper-middle-class Oxbridge graduates, like <mask>, and both were professors at music colleges. The writer Meirion Hughes describes <mask>'s world as one of insiders and outsiders. <mask> rejected British composers who did not conform to his template. "Sullivan's frequent forays into what was viewed as the questionable realm of operetta removed him from the equation at once. Elgar was never a contender, with his unacademic, lower-middle-class background coupled with progressive tendencies, while "Fritz" Delius was simply not English enough."The same writer suggests that <mask>'s aversion to Sir Frederic Cowen was due to anti-Semitism. <mask>'s integrity as a critic came under scrutiny, notably by Elgar in a lecture in 1905. <mask> had published a denigrating obituary of Sullivan in the Cornhill Magazine, which Elgar alluded to as "the shady side of musical criticism … this foul, unforgettable episode." Later, it was shown that <mask> had falsified the facts, inventing a banal lyric, passing it off as genuine and condemning Sullivan for supposedly setting such inanity. Later years
<mask> gave up journalism in 1911,

masks:
Fuller Maitland
Fuller Maitland
Fuller Maitland
Fuller Maitland
Fuller Maitland
Fuller Maitland
Fuller Maitland
Fuller Maitland
Fuller Maitland